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The Cultural Advantage Enjoyed by British Antique Investors

The Cultural Advantage Enjoyed by British Antique Investors

The British people have had a love affair with antiques for centuries.  No 18th century Georgian landowner’s holdings were complete without a fine house in London and a sprawling country estate, both of which were invariably decorated with the finest antiques available.  In the late 19th and early 20th century, wealthy British industrials took up the mantle from their aristocratic predecessors, stuffing their palatial mansions with hundreds, if not thousands, of antiques.  Today, antique investing is a more egalitarian affair, having been adopted wholesale by the British middle class.

This effortless social acceptance of antiques and art as a legitimate investment class in the British Isles has serious financial ramifications.  It means that British investors are, on average, more willing to sink serious money into these alternative assets and take the leap to becoming British antique investors.  Although stocks and bonds still constitute the majority of British investment portfolios, antiques are by no means ignored.

This situation contrasts sharply with U.S. investor preference, where anything outside of vanilla equities or fixed income instruments is often viewed with deep suspicion.  Even relatively staid investments like real estate are often eschewed by American investors unless they come neatly pre-packaged in an easily tradable, equity-like ETF (exchange traded fund) or REIT (real estate investment trust) version.

But why is this so?  Why are British antique investors drawn to the old and precious with such ardor?  I believe there are powerful cultural reasons why British investors gravitate towards antiques.

First, unlike most other Anglosphere countries, Great Britain has a long and storied history that stretches back to ancient times.  England has been ruled by people as varied as the Celts, Romans, Anglo-Saxons and Normans.  And that list excludes the island’s most recent 900 years of history!  In comparison, nearly all other Anglosphere nations – the U.S., Canada, Australia and New Zealand – have histories that span no more than a few hundred years at most.

Naturally, it shouldn’t come as a surprise that antiques have been omnipresent in British high society since time immemorial.  This familiarity has permeated British society to the point that the average British person intuitively understands the advantage and disadvantages of antiques.

Do you need your money back in 2 years?  Then a bank CD is a better place for your hard earned cash.  But if you want to stash that cash for a couple decades or longer, antiques, with their zero coupon bond characteristics, are an ideal investment vehicle.  These subtleties are lost on most U.S. investors due to their lack of experience with antiques.

Another big reason British investors love antiques is because of their once dominant global empire.  From the late 18th century to the mid 20th century, the British Empire, with London at its heart, spanned the globe.  During this period, goods and commodities of every description, including antiques, fine art and antiquities, flooded into the imperial capital from the farthest reaches of the Empire.

Over time, British citizens became familiar with antiques and art from a plethora of different cultures, including exotic Indian jewelry, sensuous Chinese jade sculptures and ancient Egyptian artifacts, just to name a few.  Although the British Empire is no more, its far reaching trade network has left an indelible footprint on the British aesthetic palate.

Today, London’s position as a global financial hub has helped the antiques trade retain its prominent place in British Society.  Trillions of dollars of global capital flow through London every year looking for safe and lucrative investments.  And this financial clout, coupled with Britain’s cultural history, prompts many international art and antique investors to make their acquisitions there.

In fact, in 2016 Great Britain’s market share of the world’s antique and art trade was an impressive 24%, second only to the U.S.  This is a remarkable feat considering that British GDP only represents 3.5% of global GDP.

Right now high quality antiques represent one of the greatest bargains in the investment world.  And British antique investors are better positioned than almost any other people to reap these rich rewards.  Because of their history and culture, more British citizens either already own antiques in their investment portfolio or will be inclined to buy when the right opportunity comes along.  Of course, the British antique investors’ cultural advantage can become your advantage too.  All you need is an open mind and a willingness to learn.

How the Great Recession Forever Changed Antique Collecting

How the Great Recession Forever Changed Antique Collecting

The year 2008 will forever stand as a stark dividing line in the history of antique collecting.  There was the time before 2008, when many categories of collectibles were still relatively vibrant and active.  And then there is the time after 2008, when many traditional collectibles markets – china, glass, furniture, etc. – collapsed in price.

What is the one key element that divides these two disparate time periods?  The answer is the Great Recession of 2008-2009.  This seminal event has reverberated throughout the antique collecting and investment market like an earthquake, right up to the present day.

The primary reason the Great Recession has had such a massive impact on antique collecting is pretty straightforward.  The economic fallout from the recession was absolutely massive.  In 2007, the real (inflation-adjusted) median household income in the U.S. was $58,149.  A full eight years later, in 2015, the same number stood $919 lower at $57,230.  A contraction in U.S. real household income was formerly unprecedented among post World War II recessions.

This declining discretionary income has had a direct impact on the ability of average people to collect antiques.  The marginal antique buyer has fled the marketplace and this is reflected in the pricing for most collectibles.  Prices for categories such as Depression glass, sports memorabilia, Waterford crystal, Victorian furniture and primitives, among others, have declined relentlessly since the Great Recession tore into the soft underbelly of the Western middle class.

I have a personal story that illustrates this fundamental change in the antique market.  In 2008, my beloved grandmother, aged 95, passed away.  She had been an avid collector of antiques and collectibles all her life, although she never paid much for any item.  After family members chose the antiques from her estate that they wanted, the remainder was put up for sale at a local auction house.

My family had always believed that her extensive antique collection was worth a significant sum of money – perhaps tens of thousands of dollars.  But reality, along with the concurrent Great Recession, shattered those misguided hopes.

Before I continue with the story, let’s review an important tidbit about the small auction scene.  Every small-time auctioneer is trying to reach a minimum bid of at least $100 for every lot he sells.  It simply isn’t worth the time to conduct bidding on lone items that end up selling for only $10, $25 or $40.  So nearly all auctioneers combine lower value, single items into larger, multiple item groupings in order to increase each lot price.

Many of my grandmother’s collectibles were of much lower monetary value than originally thought.  Consequently, most items from her estate were combined into multi-item lots by the auctioneer.  This phenomenon is actually a very important sign of a declining collectible market niche.  Many antiques that used to sell at auction as single items before 2008, now can only reach that magical $100 price point when they are sold in groups.

In the end, the collectibles portion of my grandmother’s estate realized less than $10,000 at auction.  This was partly due to the effects of the Great Recession.  Had her estate come to auction a couple years before, in 2006, the realized prices might have been 50% more, and perhaps even higher.  Once again, antique collecting clearly bifurcates into the time before the Great Recession and the period after it.

Now I don’t want to blame the decline of traditional antique collecting solely on the Great Recession.  There were other, powerful demographic and lifestyle trends gradually unfolding in the background at the same time.  But the financial damage caused by the Great Recession was the single largest contributor to the demise of antique collecting as it had existed since the mid 20th century.

And, so far, there are no signs that we are ever going back to the collectibles market that used to be.  So, if you are interested in collecting, stick to investment grade antiques that have a high probability of appreciating in the future.

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.

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.