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France’s Ancien Regime and the Coming Investment Revolution

France's Ancien Regime and the Coming Investment Revolution

Before its 1789 revolution, the French political system was called the “Ancien Regime”, which translates roughly as the “old order”.  Most of us envision this period of French history as a time of grand palaces, political intrigue and glamorous nobility.  However, the reality was somewhat uglier, with widespread corruption, economic oppression and disdainful arrogance.  What is really shocking, though, are the parallels between France’s Ancien Regime and our own time, and why it means an investment revolution is inescapable.

Pre-Revolutionary France was embodied by the Estates General, an assembly of the three most important groups in the kingdom.  This consultative body was summoned exclusively at the behest of the king, usually to approve new taxes, but occasionally to fundamentally alter established French law.

The First Estate was the church, ranging from the most exalted Parisian cardinal to the humblest of provincial priests.  The Second Estate was the nobility, whose titles were either inherited or purchased.  The third estate was the commoners, effectively everyone else in society – about 98% of the French population.

Although the Estates General was nominally democratic, it had one glaring flaw.  Any two Estates could overrule the third via a simple majority.  And that is exactly what happened. The clergy and nobility, although only about 2% of the total French population, possessed many advantages and prerogatives that the Third Estate lacked.  Therefore, these two groups colluded via their representation in the Estates General to retain their privileges to the perpetual disadvantage of the commoners.

Commoners paid a dizzying array of complicated and onerous taxes in Pre-Revolution France.  For example, member of the Third Estate had to pay the taille or property tax, the capitation or poll tax, the vingtieme or income tax, the gabelle or salt tax, the aides or excise tax and the timbre or stamp tax.  Peasants even had to pay an in-kind tax called the corvee, which forced them to labor a certain amount of the year for their aristocratic landlords or local government.  But the French clergy and nobility, in contrast, were exempt from almost all of these taxes.

As if these tax inequalities were not bad enough, the status of French nobility and the Church entitled them to collect taxes directly from commoners, oftentimes on behalf of the king.  Corruption among tax collectors was rife and members of the First and Second Estates always kept a substantial chunk of these taxes for themselves.

Starting with the reign of Louis XIV – the Sun King – the French monarchy badly mismanaged the nation’s finances.  This problem deteriorated to the point where the king actually openly sold titles of nobility to raise desperately needed funds.  If you were a wealthy Frenchman in the 17th or 18th century, you simply bought yourself nobility and a fiefdom.  These not only exempted you from most taxes and obligations that commoners had to bear, but were also inheritable, allowing your progeny to forever sidestep their civic responsibilities.

Unfortunately, I feel an investment revolution is inevitable because the modern world has successfully created a neo-feudal system similar to the French Ancien Regime.  The tripartite division among the Ancien Regime’s Estates General is mirrored in today’s institutions.  The mainstream media has effectively replaced the Church as the First Estate.  This is ironic considering the mainstream media has long been pretentious enough to style itself the present-day Fourth Estate.

The mainstream media’s sense of self importance is without equal.  They sit isolated in their echo chambers, disdainfully passing judgment on everyone around them, yet finding only themselves blameless.  And, as the 2016 presidential election or Bexit has proven, they aren’t above trying to influence the outcome of immensely important world events.  The mainstream media doesn’t simply report the news these days; they manufacture it like sausage.

The mantle of the nobility of the Second Estate has passed to the business and political elite of the world.  Immensely wealthy, out of touch with reality and often hopelessly corrupt, these people make important decisions that impact the lives of millions on a daily basis.  But regardless of how inept or poor those decisions may be, they never suffer any personal consequences.  Being one of the few, chosen elite in today’s world means never having to say you’re sorry.  Failed presidential candidate Hillary Clinton is the poster child for this class.

The Third Estate today looks much the same as it did in pre-revolutionary France.  Everyone who isn’t a globetrotting tech titan, standing senator or editor for the New York Times falls into this category.  In other words, the Third Estate is composed of the unwashed masses.

Our modern tax system is also just as lopsided as it was under the French monarchy.  The modest income of average people is heavily taxed while the vast capital of business elites, often tax exempt, flits effortlessly around the globe.  Large multi-national corporations are perhaps the worst offender here, using offshore holding companies by the dozen and engaging in complicated international tax avoidance schemes like the “Double Irish” or the “Dutch Sandwich”.

Much like the French nobility, modern-day wealthy individuals and families are able to dodge taxes via the use of corporate trusts, stock options and venture capital funds.  Whoever has the most money and the most tax lawyers, wins.  And that isn’t regular people.  Any 18th century Frenchman would instantly recognize our modern-day methods of buying social status and power.

But amidst our present gilded age, there is a looming investment revolution for our self-appointed elites.  The corruption and self-interest of the French clergy and nobility during Ancien Regime prevented the Estates General and the monarchy from ever reforming their political system.  As a result, France’s problems festered until revolution finally descended, completely wiping out the privileges of the clergy and the nobles.

We are facing a similar circumstance today.  Political and business elites collude with the mainstream media to protect their exorbitant privilege and wealth, all to the detriment of average people.  They stash most of their wealth in stocks, bonds and other paper assets.  Then they ensure monstrous profits by inflating global asset bubbles and legislating special tax breaks for themselves.  This is all courtesy of their central bank collaborators and political friends.

And these globalist elites currently believe they are untouchable – that an investment revolution is impossible.  They are the modern-day equivalent of Ancien Regime French aristocrats who bought their titles.  But change is coming.  Owning a few thousand shares of Google, Facebook or Amazon common stock might seem like a ticket to perpetual wealth today, but the view a decade from now will likely be very, very different.  An investment revolution is brewing and most paper assets will be poison.

This is why I advocate the ownership of investment quality art and antiques.  These discrete, tangible investments are not tied to the continuation of our hopelessly corrupt and ineffective economic policies.  All those French titles of nobility are worth very little today, but a fine 18th century French painting, sculpture or silver tea set is still highly prized.  When the long awaited investment revolution finally arrives, I know which assets I would rather own.

Why Is Good Art So Expensive?

Why Is Good Art So Expensive?

If you are a connoisseur of fine art, you probably already know this, but good art is expensive.  This is the case regardless of whether you like watercolor paintings, bronze sculpture or linocut prints.  They can all sell for shockingly high prices.

This situation is often discouraging to the new art aficionado.  Why do fine works of art cost so much?  Are high prices for good art justified, particularly when some works give the appearance of having been quickly and effortlessly executed?

There are legitimate reasons why fine art is so expensive.  First, it takes an artist years to become fluent with a particular medium.  The minutiae of craftsmanship is only truly learned through arduous trial and error.  During this long period of training or apprenticeship, most of what an aspiring artist produces is junk.  In other words, they labor endlessly creating subpar works that generally go straight into the trash can.

Vanishingly few of these early career works are saleable.  But once an artist “graduates”, circumstances reverse.  A seasoned, accomplished artist is part of a select, exclusive group.  Any works he produces at this stage of his career are usually immediately recognizable as attractive, magnetic and desirable.  And prices reflect this fact.

In effect, today’s art buyer is actually paying for the time and effort to train an artist over many years, if not decades.  Every “successful” piece of art is priced to cover the cost of several “failed”, unsalable works of art that had been previously attempted.

Another reason good art is so pricey is that art supplies are expensive.  Regardless of whether it is oil paints, watercolors or alcohol inks, good quality art supplies are invariably more costly than the layman would suspect.  In addition, sculptors, jewelers and some non-traditional artists often work with high intrinsic value mediums like bronze, precious metals and gemstones.  Add to this the fact that a project will often require multiple practice runs before a finalized version is created, and the total cost of supplies for even a modest piece of fine, contemporary art is often shockingly high.

The final element that contributes to the high cost of good art is randomness.  A superlative work of art has a non-trivial element of chance in its creation.  No matter how skilled the artist, it is impossible to produce great art on demand.  Instead, the inspiration, mood and skill of the artist intersect with the subject matter, medium and countless other factors to determine the ultimate quality of an art piece.

Only once in a great while will all the stars align, allowing a truly gifted artist to realize his intent of producing an outstanding work of art.  But for every masterpiece a skilled artist manages to produce, there are probably ten other good, but not great, works sitting in his studio.  Yes, he will sell the good works, but he’ll undoubtedly charge a very hefty premium for that one magnificent piece.

This “lightening in a bottle” phenomenon is highly unpredictable.  Even if an artist has a great concept and the necessary skills and tools, it is no guarantee of a good outcome.  In fact, it is depressingly common for an artist’s greatest disappointment to be a project that starts with a solid idea and considerable enthusiasm.  In contrast, an artist’s proudest work often originates as an absent minded doodle or impulsive notion that eventually evolves into a masterpiece.  As an art collector, you pay for this completely unpredictable factor of artistic genius.

I think it is important to note that the above analysis applies primarily to recently created art.  Antique or vintage art produced decades (or centuries) ago by now deceased artists has very different economic dynamics compared to new pieces recently produced from living artists.

Yes, good art is astonishingly expensive.  But there are legitimate reasons for this.  The world’s supply of trained, technically accomplished artists is extremely limited.  Even if the world demanded more fine art tomorrow, it would take decades to train a new cadre of artists up to the prerequisite skill level.  Rather than lament art prices, lovers of fine art should accept this situation as the very reasonable price of aesthetic perfection.

Chasing the Golden Elephant

Chasing the Golden Elephant

The relationship between a dedicated numismatist (coin collector) and the object of his affection is often like that of a hunter and his quarry.  The savvy collector methodically stalks a coin as if it was prey.  He will conduct exhaustive research, discovering everything he possibly can about the history and lore surrounding an item.  And then he will lay in wait for the perfect specimen to come into view before finally “pulling the trigger” – buying the piece.

A few years ago, I embarked on my own particular quest.  I wanted to buy a nice ancient or medieval gold coin that cost less than $500.  Why under $500?  There were a couple reasons.  First, like many people, I don’t have money to burn.

Second, sometimes I like a challenge.  And finding an ancient or medieval gold coin in good condition for a low price is definitely a challenge.  Any nouveau riche coin collector can just throw fistfuls of his trust fund money at a collecting niche and walk away with an exquisite piece.  But it takes real knowledge (and a bit of luck) to walk into the numismatic market with a strict budget and walk out with a fine specimen.

And so the search began.  I immediately ruled out ancient Roman, Greek, Celtic or Indian gold coins.  Pricing for these pieces generally started at about $1,000 and rapidly escalates from there.  Most medieval European gold coins were out as well.  No, I was going to have to get creative in this hunt and entertain the acquisition of a coin from an obscure civilization or empire.

But rooting around in the bargain bin of ancient and medieval numismatics can be a dangerous thing.  Most coins struck by little known dynasties are not renowned for their fine style or artistry.  Instead, they are often crudely struck, dumpy little coins that are thoroughly unattractive.  If I wanted an eye-catching, visually appealing coin, I would need to exercise great caution.

Next, I looked into medieval Byzantine and Venetian pieces, as well as gold coins from some Islamic dynasties.  But none of these quite satisfied me.  The prices were usually at the very top end of my $500 budget while the coins themselves were often less than impressive.  I needed to set aside any preconceived ideas and embrace the unconventional.  I didn’t realize it yet, but I was engaging in one of the greatest hunts of my life.  I was chasing the golden elephant.

I had always had an affinity for medieval gold coinage from South India.  These little gold badges from the unique Hindu empires of the Deccan peninsula really appeal to me.  But I already owned quite a few examples, and wasn’t looking to add yet another one.  Or so I thought.

But then I saw it – a medieval gold pagoda minted in the 11th or 12th century by the Western Gangas of India.  This delightful little coin features a magnificently bejeweled war elephant on its obverse – hence this article’s theme of “chasing the golden elephant”.  And the medieval kingdom that created this masterpiece was straight out of an Indiana Jones movie, complete with imposing stone temples, dark, tiger-filled jungles and fierce, warring clans.

I had been aware of the existence of this type of coin before I stumbled across this particular specimen.  But I had always shied away previously.  Prices had always seemed a little too high.  And while I personally liked their quirky, ethnographic artistic sensibility, it doesn’t appeal to everyone.

But this golden elephant coin spoke to me; it was special.  Its style was superb for the type, among the best I had ever seen.  In addition to that it was in choice condition – a real beauty.  And the stories this coin could tell if it could speak!  It may have lain for centuries in the treasury of an ancient Hindu temple.  It may have passed through the hands of princes, merchants and rebels.  It may have witnessed bloody battles waged between rival rulers, along with the rise and fall of countless kingdoms over the centuries.

But the best part was perhaps the price – a mere $300.  This specimen had spent too long in a dealer’s inventory and he wanted to move it.  I knew that I would probably never see so fine an example again in my lifetime for the same price.  At that moment, the golden elephant came into focus within my crosshairs, and I pulled the trigger.  I have never once doubted the wisdom of my decision since.

What Venezuelan Inflation Can Tell Us about Our Future

What Venezuelan Inflation Can Tell Us about Our Future

As 2017 progresses, all eyes have been on the Venezuelan inflation train wreck currently unfolding.  While the unfortunate South American nation stopped publishing official (and embarrassing) inflation statistics some time ago, an informal index calculated by Bloomberg known as the “Venezuelan Café Con Leche Index” currently pegs the annualized inflation rate in beleaguered country at 616%.

This shockingly high inflation rate is even more alarming in light of the fact that the Venezuelan bolivar used to be Latin America’s strongest, most stable currency for most of the 20th century.  In fact, the Venezuelan bolivar was one of the world’s few currencies to actually appreciate versus the U.S. dollar between the 1920s and the 1970s!

This feat was quite an accomplishment, underscoring Venezuela’s strong economy and fiscal position in the mid 20th century.  Unfortunately, that previous monetary stability abruptly ended in dramatic fashion on February 18, 1983, when Venezuela experienced a shocking currency crisis referred to locally as “Viernes Negro” or Black Friday.

Before Venezuela’s 1983 Black Friday devaluation, the bolivar exchange rate had been fixed at 4.3 bolivars to the dollar.  Currently, that same bolivar trades for over 5,100,000 to the dollar on the Caracas black market.  That averages out to a staggeringly high Venezuelan inflation rate of about 50% per annum for the last 34 consecutive years.

Consequently, over the last few decades Venezuelans have learned that bolivars should be spent as quickly as possible in order to avoid the devastating effects of rampant inflation.  Every government attempt to stem the inflationary tide, including lopping three zeros off the end of the old bolivar in 2008 and renaming it the bolivar fuerte – the “strong bolivar” – has failed miserably.  At this point, Venezuela teeters on the brink of hyperinflation, effectively insolvent.

Reading this news about Venezuelan inflation got me thinking.  Chronic, elevated inflation forces Venezuelan shop owners to constantly readjust their prices upward.  If they don’t, they will quickly sell out of their below market price goods and then lack the necessary capital to restock.  But developed countries with strong currencies, like the U.S., Japan and the eurozone, allow businesses to retain static prices on old goods, sometimes for many years at a time.

This point was driven home to me when I visited the website of an online gem dealer recently.  Much of this dealer’s inventory was several years old.  This state of affairs is completely normal for the industry, though.  Jewelry stores and antique shops, as well as art, gem and coin dealers have notoriously slow inventory turnover.  It takes these businesses time to find the right buyer for their goods.

But then it hit me.  Even though much of this gem dealer’s inventory was relatively old, the prices hadn’t changed.  I know this is true because I’ve frequented this dealer’s website for several years.  The pricing on old stock has been absolutely static.

This is a situation that doesn’t exist in Venezuela.  It is a situation that can’t exist in Venezuela.  Yet it is a situation that we in the developed world take for granted today.

Investors and consumers in the U.S. and other developed countries have become complacent about stable prices.  We believe, implicitly, that inventory prices will remain fixed and unchanging forever.  But this is a poor assumption, justified only by looking in the rear view mirror of monetary history.  Instead, it would be prudent to look at Venezuelan inflation for a glimpse of what a darker, rawer economic future might look like.

I know that many people naively believe “It can’t happen here.”  Those people are wrong.  Government officials and monetary authorities in the developed world are under exactly the same pressures for politically expedient solutions as their Venezuelan counterparts.

This is proven by how quickly and easily central banks around the world adopted quantitative easing during the financial crisis of 2008-2009.  Quantitative easing – the outright printing of money by central banks – had been a forbidden, nearly unthinkable, practice for central bankers in ages past.  Now this inflationary policy has been glibly justified and normalized by those in power.

This gradual slide into inflationism has important implications for investors in art and antiques.  I have been personally guilty of the conceit of believing that alternative asset prices won’t meaningfully rise while I carefully consider my choices.  I window shop art and antiques endlessly, yet only occasionally open up my wallet to buy.  And yet I am keenly aware that the U.S. dollar’s reign as the global currency hegemon is gradually drawing to a close.

While I firmly believe that the dollar will strengthen over the next few years, I also know that the dollar will eventually one day join all other paper currencies in the dustbin of history.  This isn’t a prediction so much as an inevitability driven by human fallibility.  If we learn anything from Venezuelan inflation, it should be that no fiat currency lasts forever.