[antiquari]

Top Tips For Buying At Auction

As I have said before I thoroughly enjoy buying at auction and as much as I would like to think that I am against any form of gambling, I have to admit to myself that they are in fact an extension of it. And once you are addicted to the thrill and the excitement of it all it is hard to give it up.

Unlike gambling, auctions can however provide you with the opportunity to make a good investment, so long as you have done your homework beforehand.

Good practice comes with experience though and over the years I have learnt from my own mistakes what you should and should not do when attending auctions. My top ten golden rules are:

1 - Only consider buying at auction as a last resort, certainly only when the wanted artwork is no longer available on the primary market. The last thing you want is to find out that you could have got your hands on a piece from the original source and at a fraction of the price. This particularly applies to printed and multiple editions.

2 - Do your research on the artwork you intend to buy or contact a trusted art consultant who can do that for you. Visit as many museums and galleries as possible as well as read specialist art magazines. It is important to have a clear view on the artist, their work and depth of their market.

3 - Always request a condition report from the auctioneers. This is an invaluable source of information for assessing the real value of an art piece and will ultimately enable you to make an informed choice on your decision to purchase. I have myself been buying at auction in the past without even thinking about these reports. And while I am still happy with my purchases, I have perhaps ended up paying a bit more than what they are really worth, but they are nevertheless pieces that I really wanted.

4 - Inspect the artwork before the auction and think about potential issues around storage of art that can perish over time, for example. This particularly applies to installation works or art that is meant to change in texture, colour or consistency over time. This should be done alongside reviewing the condition report.

5 - Compile your 'wish list'. If you miss out on a piece, at least you have the chance not to go home empty-handed. But of course you should never make a purchase just for the sake of it.

6 - Decide on a budget per piece and stick to it. The swift pace and excitement at auctions can easily lead to overspending.

7 - Don't forget to factor in the buyer's premium (normally between 20% and 25%, depending on the value of the artwork and the auction house), as well as any potential artist's resale royalty charges, collection, handling and storage charges. These costs will be added to the hammer price, hence the importance of sticking to a set budget.

8 - Never buy art purely as an investment. You should only buy into an artist that you like and understand. As I mentioned in one of my previous articles, as the vast majority of the art world is based on the hype around a particular artist and their work there are never any guarantees that the value will necessarily go up. All that should matter is that you love what you are collecting.

9 - Trust your instinct. Although it is extremely important to try and follow the rules as much as possible, I still think that the there should also be an element of spontaneity when making a purchase. After all, some of the best collectors are the ones who have been impulsive in their choices and have ultimately succeeded in spotting good talent early on, before everyone else. 

10 - Enjoy your purchase! There is always a great satisfaction in taking your artwork home and seeing it on your wall. That is unless you have totally misjudged its dimensions... Don't worry, I have done that before!

Author: Luciana Limongelli, Founder of Antiquari

[antiquari]

Buying At Auctions: Nothing Can Replace That Feeling!

Those of you who know me well enough also know how much I love my art. I am always on the lookout for the next new addition that will enhance my modest collection and although I will search for it from a variety of sources, from art galleries to specialist sites and blog pages, I find that buying at auctions is by far the most exciting and thrilling experience you will encounter.

Auctions at Phillips De Pury, Sotheby’s and Christies are run just like properly curated exhibitions. Each show is well balanced throughout, with a mixture of artwork by newly established as well as already popular and sought after artists. This ensures that the interest from potential buyers remains strong and consistent all the way through.

While discovering new talent at auctions is extremely rare, they provide a great platform for art collectors to find pieces that may no longer be available on the primary market, often at competitive or even at bargain prices. In an interview Amy Cappellazzo, the International Co-Head of Contemporary Art at Christie’s, claimed that new artists should in fact refrain from entering the auction market until they can ascertain the depth of their market. Running too big a show could in fact be damaging for a young artist’s career, especially if prices are set too high too soon. Auctions on the other hand can make an artist’s career - Jeff Koons’ career, for example, was almost entirely established at auctions even though his work is also successfully sold by the Sonnabend Gallery in New York. Takashi Murakami, Cindy Sherman and Jean-Michel Basquiat are also similar examples here. These artists practically owe the strength of their market to auctions, even though their artwork has been popular and selling well at release.

Most leading auction houses have started introducing print editions to their auction calendar, making pieces that would otherwise be out of reach, accessible to a wider market.

I recently attended the Phillips De Pury editions auction and although some of the lots sold for a small fortune, including Richard Hamilton’s Fashion-Plate, Cosmetic Study IX from 1969 (sold for £314,500, higher that its highest estimate of £200,000), there were plenty of good deals to be had. For example, a set of 9 prints by Patrick Caulfield sold for £3,250, under its lowest estimate of £4,000. This was a particularly good deal, considering that a set of 4 prints by the same artist sold at Christie’s for £9,375 only a few weeks before. Personal note to the buyer: very well done on that, I salute you! 

Other good deals included the Andy Warhol Electric Chair in yellow (1971) which sold for £4,375, versus the black version (also from 1971) that ended up selling for almost double the price at £8,125. It was surprising to see how two very similar versions of the same image can achieve such different results. I assumed the yellow print would generate more interest, as in my opinion it is more unusual than the black, and highlights even more the poignant side of the image with the use of yellow, a colour that is normally synonymous with creativity and positive events. The other highlight for me was the Banksy’s Gold Flag print (2007) selling for £3,750, considering that this is an iconic image, a low edition of only 112, and previously selling for around £10,000!

Collectors who do well at auctions are the ones who do their research beforehand (or get an expert art consultant to do that on their behalf) but most importantly also follow their gut instinct on what they like and feel is right for them, rather than solely focussing on what might make a good investment. I really think this is a rule that is valid for the high as well as the lower end of the market. Certainly my personal advice to anyone wanting to invest in art would be to really have fun with collecting, be adventurous in your choices and do not feel you need to stick to a particular theme or style - oh dear, I can already hear a lot of experts out there cursing me for saying this!! But the reality is that art is a volatile market, often based on hype. Therefore, as there are never any real guarantees on whether you will make a profit, you may as well enjoy the ride. Failing any increase on the value of the artwork all that should matter is that you are happy to have that art piece hanging on your wall, and knowing that you still own something quite unique. As long as you have done your research your risks are highly reduced, especially if you go for an artwork by well-known and established artists. Most industry experts would agree here.

Moreover, if you are serious about investing in art, you should definitely attend auctions, and lots of them. This will provide you with invaluable experience, transparency on the depth of an artist’s market and average prices you should expect to pay for their work. The other alternative is to get in contact with an art consultant that you trust who will be able to do the work for you and share their advice for a set fee.

Last but not least, buying art at auctions is so much fun. When you are set on an artwork and you come head to head with someone else in the room, or on the phone, your heart will start racing, your hands will start sweating and you will have a split second to decide how much you are prepared to pay to secure that piece. Dangerous when that price is higher than what you were originally intending to spend, but of course you should always have a set price in mind, and stick to it!

Sadly, in the end there can only be one winner. At times your heart will be broken and you will have to get over the disappointment of not getting that artwork. Either way you are always guaranteed a good time. On the other hand, when you are the winner and the auctioneer smiles while looking in your direction and says ‘Sold to the lady in the room for £x’ you will feel a million dollars. When that happens there really is no better feeling and before you know it, you are hooked.

Author: Luciana Limongelli, Founder Antiquari.co.uk    ([email protected])

[antiquari]

Lovely display in Milan of the P40 chair by Tecno #borsani #tecno #vintage #furniture #italy #antiquari

[antiquari]

Surreal window display #bodyparts #collecting #milano #vintage #antiquari

[antiquari]

Good lighting spotted in Milan

[antiquari]

with Tracey Emin!

[antiquari]

Designer Spotlight: Marcel Breuer (1902-1981)

Marcel Breuer is considered one of the most influential designers and architects of the 1900s. He started his career as a painter and sculptor but soon discovered a passion for furniture design, which made him famous. I have always felt admiration for Breuer, not only for his many talents but for bringing outstanding design into mass production. In 1925 at the age of 23 he began working as tutor at the Bauhaus, where he produced many innovative designs that are still in production today, including the Cesca and Wassily (B3) chairs. Both utilised the revolutionary bent tubular steel frame that confer a stylish yet practical look to these pieces. The vast majority of Marcel Breuer's work has been extensively produced since it was first designed. The Wassily chair, for example, was built in the late 1920s by Thonet in Germany. After the war Dino Gavina acquired the license to produce it and replaced the original fabric material with leather. In 1968 Knoll bought the Gavina Group and with it the licence to manufacture it. I recently came across a pair of 1960s Wassily B3 chairs that carry a 'Bononia' logo. As I could hardly find any detail on the company, except the website (http://www.bononiacontract.it), I rang the owner direct to find out more. The firm was in fact founded by Dino Gavina (so comes under "The Gavina Group") and used to produce these chairs before Knoll, throughout the 1960s. I find it interesting that the majority of text books and online sites only mention Knoll as the official manufacturer and distributor of this design when in fact the original models were made by Thonet first and later by the

Gavina Group. Many of these chairs were used in the meeting rooms and receptions of stylish offices and national banks in Italy. They have become a design icon of the 1960s and 1970s and have recently made a come back in design magazines, offices and private homes. However the 1960s originals, in good condition, are quite rare despite their mass production. I'd better hang on to mine then! Author: Luciana Limongelli

[antiquari]

I love plastic chairs My love for plastic chairs started when I came across the Selene by Vico Magistretti. This fabulous chair has become an icon of the Italian industrial design of the late 1960s. It utilised a revolutionary new production system that involved injection moulding polyester and carbon into a single, unique piece. Perfect for the inside or the outside, the Selene was the absolute first of its kind, not only for introducing new materials but also for its bright colours and stackability. The versatility and practicality of plastic chairs has recently been rediscovered and celebrated by the major home decor magazines. From Architectural Digest to Case Da Abitare, Homes and Gardens, Interior Design, etc. there is hardly an issue where they do not feature. The increasing lack of space in modern architecture, especially in big European cities, means that we are adapting to smaller interiors. Therefore, furniture that can collapse, or be cleverly stored away when not needed, meets our needs in modern home interiors. There is plenty of choice out there when it comes to plastic chairs, whether you are looking for dining chairs, armchairs for your living room or ergonomic office chairs. My favourites range from the simple folding Plia by Gianfranco Piretti, to the Eames' Rocker and PAC fiberglass models and the more elaborate Verner Panton "Panton" and the Magistretti Gaudi armchair. There are no rules in terms of where plastic chairs can be used. Folding or stackable chairs look quirky around a table, or placed in a corridor or a corner in your living room, with a modern, patterned cushion. You can also have a bit of fun by mixing different colours and styles within the same room. And when you get bored of them in one place you can easily move them elsewhere. They are perfect for an injection of colour into your kitchen, for a playful look in your office, or for conferring lightness and simplicity to your living room. Weight wise, they're not as flimsy as they look - the majority are surprisingly heavy and sturdy, contrary to their light appearance and will last you a lifetime. What's not to like? Author: Luciana Limongelli [email protected]

[antiquari]

My Top 10 Designs of All Time (continued) Choosing my next top 5 hasn't been easy... How can I possibly just pick 10 pieces out of so many great designs? Thinking about 'nice to have' items to renew my North London flat helped me making that selection... Here we go: 6. Triennale Lamp by Angelo Lelli for Arredoluce (1953) This incredible floor lamp is one of the signature lighting designs of the 1950s. Resembling the shape of a modern coat hanger with a brass base and extendable arms that reveal brightly coloured shades it is one of those pieces that every design fanatic would love to own but not very many have. The Triennale in good condition and still retaining all its original materials and features (including the elegant tripod base) is almost impossible to find these days. Occasionally it magically appears at auctions, achieving between £7,000-£10,000 or more, depending on its condition... It would look amazing next to my Charles Eames Rocker by the window... Oh if only I could afford it! 7. Coffee Table by Gianfranco Frattini for Cassina (1969) There is something special about Frattini's furniture. Whether it is a table, an armchair or a sideboard their design is always linear, clean and simple whilst the small details make each piece unique and highly collectable. The chrome legs of this rectangular glass top table confer a timeless look to it. A real statement that works even in small spaces thanks to the clear glass top. 8. Sputnik Chandelier by Gino Sarfatti for Arteluce (1950s) This sublime chandelier is so contemporary you would never guess it was designed in the 1950s. There are plenty of imitations out there but an original Sarfatti will always standout. I'm being quite greedy so I'd like this in my super modern kitchen please. 9. Concetto Spaziale, Attese by Lucio Fontana (1960s) Art has the ability to bring together a room and make it feel furnished even if there is barely anything in it. Perhaps I am a little biased here - I love my art and would probably do without one of the essentials rather than not have anything hanging on my walls. A Lucio Fontana is rather ambitious (to say the very least!) but since I'm writing a piece on top 10 'nice to haves' I may as well dream a bit... 10. The Albini Desk by Franco Albini for Knoll (1958) Last but not least, I could really do with this super chic and light desk to revamp my office (obviously with Concetto Spaziale hanging over it!). Working in a stylish room can really make you feel more productive and inspired. It has a cute box draw on one side for your essential everyday filing. Combine it with a 1950s Bertoia chair and re-purposed bright coloured industrial stacking boxes for additional storage and a quirky but practical look. These unusual contemporary objects have really shaped the world of interiors and the way we furnish our homes, so much so that the vast majority of modern furniture on sale nowadays is made of imitations of original and iconic designs (that are not always cheaper if not more expensive!). You can always spot the real deal when you see it though and from then on there is no turning back... Have I missed anything? Get in touch with your comments or questions. Author: Luciana Limongelli [email protected]

[antiquari]

My Top 10 Designs Of All Time I recently came across an insightful article in the Italian issue of AD Magazine that highlighted and celebrated the top 50 design pieces of all time. Whilst I agree with most of their choices, I started thinking what my own top 10 'nice to have' list would be. I have a real passion for home interiors and design and am always on the lookout for the next new signature design or pattern that can transform or renew my home. I am however consistently finding it hard to get new modern pieces that really standout, without making my place look like an Ikea showroom. Don't get me wrong, functional furniture that doesn't break the bank can work perfectly well in any environment but incorporating a few vintage or iconic design pieces can really add character and individuality to any interior. In fact, I think mixing different style furniture can really put a stamp and reinvent any space. I am not a vintage fanatic so I tend to go for contemporary classic furniture that is practical and with a design that will stand the test of time, rather than flamboyant icons that despite their unique look are simply too hard on the eye and therefore only good if you are a collector of a particular style or designer. Anyway, let's get to the point. Here's my top 10: 1. P40 Articulated Chair by Osvaldo Borsani (1954) This fabulous reclining chair is not only a design icon (it was exhibited at the Design Triennale in 1954) but is also a stylish ergonomic lounge chair. They are incredibly rare though and can be pricey if in good condition and in the original and sought after vibrant red. 2. The 'Lady' Armchair by Marco Zanuso (1951) This chair was also exhibited at the Milan Triennale (1951) as it utilised foam, a material that was still in the process of being tested at the time. The Lady is still in production by Arflex but if you can get your hands on an original 1950s chair you will be in for a treat as the original fabrics have a unique charm that will literally 'dress' your living room (but can also look incredibly sexy in your bedroom). 3. Superleggera Chair by Gio Ponti (1957) Weighing only a kilo and 700 grams, hence the name Superlight (Superleggera), this stylist chair was initially designed as a practical chair but has now become one of the most recognisable design icons of all time. Although still in production the Superleggera has well retained its value with prices starting at around £1,000 for a newly produced chair or more if vintage. It is perfect as the centerpiece to your entrance hall or as a feature in your living room. 4. Rocker Chair by Charles and Ray Eames for Herman Miller (1948) This is an absolute design classic, so much so that its production has never been discontinued since the late 1940s (although they are now made by Vitra and now only employ plastic rather than the original fiberglass that gave this chair a wonderful texture). Its unique curved shape and sleek lines are suitable for any space, whether it's a living room, a bedroom, an office or even a bathroom! I make good use of mine by my arched window overlooking London... priceless! 5. Arco Floor Lamp by Achille and Pier Giacomo Castiglioni (1962) for Flos Resembling a street light with a marble base and an arched organic shape, it is still considered to be one of the greatest modern floor lamps. Use it over the table in your dining room to add a sophisticated touch or in your reading room over your sofa for a great contemporary look. I'm still thinking what my next 5 should be. There are too many great designs to choose from! Until next time... Author: Luciana Limongelli [email protected]