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8 Antique Investing Trends for the Next Decade

8 Antique Investing Trends for the Next Decade

Now that 2017 is here, let’s gaze into our crystal ball in order to forecast some meaningful future trends for antique investing.  So, without further delay, here are the Antique Sage’s top 8 antique investing trends for the next decade, listed in no particular order.

 

1) Items from the 1970s and 1980s will start to be considered antique

It generally takes approximately 40 to 50 years before an object is considered antique.  So as we move into the 2020s, objects from the 1970s will start to be widely accepted into the pantheon of antiques.  The 1970s, with its wild combinations of sleek modernism and textured, abstract naturalism, is sure to attract a large connoisseur following.

Even items from that notorious decade of excess, the 1980s, will begin to acquire the aura of antiqueness as they reach 40 years of age in the early 2020s.  Characterized by bold geometric designs, a preference for bright, primary or neon colors and lavish use of luxury materials, the 1980s will undoubtedly carve out an important niche for itself in the collector’s community.

 

2) As traditional asset markets struggle, interest in antique investing will boom

The traditional asset classes of stocks and bonds have both had a tremendous run since they bottomed in the financial crisis of 2008-2009.  This stellar performance has convinced a lot of people that paper assets will continue to deliver the 10% returns that they need every year to achieve their financial goals.  But while the honey has flowed so far, this is extremely unlikely to be the case over the next decade.

Instead, it is highly probable that stocks and bonds – already priced for perfection – meet the harsh reality of a structurally weak, heavily indebted global economy.  As traditional asset prices either stagnate or drop, investment grade antiques – those made from precious metals, exotic woods and glittering gemstones – will naturally appreciate in value.  Widespread investor interest in this new, alternative, tangible asset class is sure to follow.

 

3) Precious metal prices will increase, impacting the antiques market

Further dislocations in global trade, the economy and securities markets are almost an inevitability at some point over the next ten years.  This will cause a flight to safety among investors.  The chief beneficiaries of this trend will be U.S. Treasury bonds, backed by the full faith and credit of the United States government, and precious metals.  Gold and silver, coveted for centuries as the ultimate form of financial payment, will be the world’s preeminent hard currency.

Although no one can say exactly how high gold or silver might go in another financial crisis, we can be certain that the trend will be up.  Many investment grade antiques, including coins, jewelry, silverware, wristwatches and fountain pens, are made, either partially or completely, from precious metals.  So it isn’t a stretch to infer that an increase in the price of gold and silver will also put upward pressure on the value of these investment quality antiques.

 

4) The collectibles market will continue to crash

The collectibles market, including such diverse categories as memorabilia, glassware, porcelain and antique furniture, has been in secular decline ever since the Great Recession of 2008-2009.  The middle class, the former mainstay of the collectibles trade, has been decimated by the poor economy.  And things don’t look to be improving anytime soon.

So collectible prices, already down anywhere from 25% to 80% over the last 10 to 15 years, are set to continue falling unabated over the next decade.  Meanwhile, investment grade antiques – a completely distinct category from collectibles – have doubled, tripled or even quadrupled in price over this same timeframe.  I know where I want to put my money.

 

5) 18th century antiques will become the new 17th century antiques

Right now, high quality antiques from the late 18th century – the 1770s, 1780s and 1790s – are still reasonably available in the marketplace.  But those antiques are currently at least 220 years old.  And, as the 21st century rolls on, the 18th century will disappear further and further into the mists of the past.

In effect, the 18th century – along with all the wonderful Rococo, Neoclassical and Georgian antiques from that time – will soon seem as distant from us, temporally speaking, as the 17th century does.  Progressively fewer of these beautiful, old, 18th century antiques will be accessible to collectors over the next decade.  As supplies dwindle and the recognition of this trend increases, prices will predictably rise.

 

6) The death of the physical antique store will finally be complete

Quaint little antique stores, once ubiquitous in small town and rural America, will finally disappear forever.  The shrinking population base of these areas, coupled with high commercial rents and a persistently weak economy, will make it impossible for most of these physical antique stores to survive.  Within the next 10 years, this antique shop annihilation will be largely complete.

Yes, there will still be some physical antique shops in large cities, although far fewer than in years past.  And thrift and secondhand stores will persist, as well.  But the bulk of antique transactions will take place on the internet via eBay, Etsy, Ruby Lane or other online sales platforms.  This will be a major – and permanent – change in how the buying and selling of antiques happen.

 

7) Small antiques will be the new black

The 1980s, 1990s and early 2000s were renowned as a period of gross excess and unrepentant materialism.  One of the ways this manifested itself was through the all encompassing motto, “Bigger is better.”  People aspired to own huge SUVs, bloated McMansions and as much “stuff” as they could possibly hope to cram into both.  In this environment, massive Victorian furniture, oversized paintings and monumental sculpture sold briskly.

But the world has recently become reacquainted with the simple pleasures of the diminutive.  People are now living in smaller spaces, like condos, townhouses or modest single family homes.  They don’t have the time, money or patience to wrestle with mammoth works of art or antiques.  Compact and portable, investment grade antiques fit this blossoming need for petite art perfectly.

 

8) The mid-range of the antique market is where the action will be

We’ve been assaulted over the past several years with interminable articles and stories about important antiques and other works of art setting multi-million dollar auction records.  This has given the distinct impression that fine art and antiques are only for the uber-wealthy or financial elite.  However, much of this demand for ultra high-end antiques has been driven by the frothy securities markets.  The next decade, however, will almost certainly feature a fair amount of financial market chaos.  In this scenario, antique buying from the ultra-rich will diminish considerably.

Instead, average, middle class people will gravitate towards investment quality antiques as a way to hedge the risks of traditional, paper assets.  This means the mid-range of the investment-oriented antique market, with prices between $250 and $5,000, will become the sweet spot.  The sensibly priced antiques in this category have already doubled or tripled in value since the turn of the millennium.  And there is every reason to think these overlooked investment gems will repeat that feat over the next 10 years.

 

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The Top Three Most Undervalued Antiques of 2017

The Top Three Most Undervalued Antiques of 2017

I’m constantly looking for exceptional values in the world of investment grade antiques.  Now that a new year is upon us, I feel it is a good time to release my list of the top three most undervalued antiques of 2017.  If you can spare the cash, these fine antiques will not only look great in your house (or on your wrist), but should also prove to be excellent long-term investments.

 

Vintage Mechanical Wristwatches from U.S. Makers

Vintage mechanical wristwatches are one of the hottest properties out there in the world of antiques right now.  They are stylish, functional and wonders of 20th century engineering in miniature.  But not all of them are equally in demand at the moment.

While the luxury European vintage wristwatch brands – Rolex, Omega, IWC and Jaeger-LeCoultre, to name just a few – are currently highly sought after, the American manufacturers have languished.  Some of the best known American watch companies were Hamilton, Elgin and Waltham.  Bulova, Benrus and Gruen were three more U.S. watch companies that sourced most of their movements from Europe, but are still usually considered American companies by collectors.

I think collectors often ignore U.S. vintage wristwatches because these manufacturers went bankrupt back in the 1950s and 1960s due to intense competitive pressure from their European counterparts.  To compound the problem, many of these American nameplates were sold off to low end, overseas watchmakers.  These foreign makers then exploited the remaining cachet of the American manufacturers by flooding the markets with cheap, nasty versions of these watch brands in the 1970s and 1980s.  Many people have accidentally conflated these later, inferior wristwatches with the original, high quality wristwatches produced by the pre-bankruptcy American watch companies before 1970.

Overlooked, vintage U.S. wristwatches represent exceptionally good value in today’s antique market, especially the higher end models in solid gold cases.  Investment-oriented buyers should look for models that still run and have fully jeweled movements, with a minimum of 15 or 17 jewels.  Once the vintage wristwatch market overcomes its irrational obsession with European models and discovers that a comparable watch from a U.S. maker can be purchased for between 1/5 and 1/10 of the price, that value gap is sure to narrow.

 

Japanese Antiques

Japanese antiques are, simply put, some of the finest handcrafted items known to man.  Made from the 17th century straight through the 20th century, investment-grade Japanese antiques span a vast range of objects, including tsuba (samurai sword guards), netsuke (miniature sculpture), gold and silver coins, lacquerware and woodblock prints, among others.

The Japanese national character strives for both harmony with nature and perfection of spirit.  These attributes combine to beautiful, often stunning, effect in Japanese antiques.  In addition, most Japanese antiques were painstakingly, laboriously handmade.  In today’s mass-produced, modern world, handmade antiques possess an allure and appeal that is almost magnetic.  And few cultures produced handmade items better than the Japanese.

Given the many positive characteristics of Japanese antiques, it is difficult to believe they could possibly be undervalued in today’s market.  But they are.  No more than a few hundred dollars will give you access to a broad range of choice, investment grade Japanese antiques.  And only the very finest Japanese antiques sell for more than $700 or $800 right now.

The reason the value of Japanese antiques have remained stubbornly low is the Japanese economy.  Japan experienced a massive twin stock market and property bubble in the late 1980s.  These bubbles burst right at the beginning of the 1990s.  Since that time, Japan’s nominal GDP has essentially flat-lined.  And because nominal GDP is the main driver of aggregate antique prices, the valuations of Japanese antiques have stagnated along with Japan’s economy.

However, I don’t believe this is a permanent state of affairs.  And not because I believe the Japanese economy will suddenly and miraculously improve.  Instead, I think Japanese antiques are steadily gaining a loyal following among art and antique connoisseurs overseas, especially in the U.S.  Eventually this increased demand will soak up any excess supply, driving prices skyward.

 

Antique Silverware

A classic of the antique market is fine, old silverware.  It has been a staple of wealthy, aristocratic households for centuries, providing a convenient way to store and transmit tangible wealth across generations.  As an added bonus, investment grade antique silver flatware and hollowware is not only elegantly crafted, but also simultaneously functional.

However, in spite of possessing considerable intrinsic value and tremendous aesthetic appeal, antique silverware is shockingly inexpensive today.  This development is even more puzzling given the fact that the price of silver bullion has tripled or quadrupled over the last 15 years.  In contrast, antique silver flatware and hollowware has only doubled in value, and sometimes not even quite that.

This means the premium on most antique silverware, the monetary amount in excess of the bullion value of the piece due to its artistic merit, has actually decreased in percentage terms in recent years.  But this situation is a boon to savvy antique collectors and investors.  A variety of beautiful, versatile and eminently valuable solid silver flatware and hollowware sets are available for just a few hundred dollars, or even less.  And unlike some antiques, historically important antique silver from as long ago as the late 18th century – almost 250 years old – can still be readily found in the marketplace for modest prices.

I believe this trend in the antique silver market is largely driven by secular changes in living arrangements among the younger generation.  More young people are now living in apartments, condos and townhouses that do not have separate, formal dining rooms.  This lack of a formal dining space, coupled with the modern tendency toward very informal meals and gatherings, means that antique silverware is often perceived as superfluous.

However, this thinking is in error.  Antique silver is a very versatile and practical luxury item.  It is just at home in a small, intimate gathering with wine and tapas as it is in a formal banquet for royalty.  So I don’t believe today’s low prices for fine antique silverware will persist forever.

Anchoring and the New Reality of Antique Investing

Anchoring and the New Reality of Antique Investing

The world is continuously changing.  It happens regardless of whether you are awake or asleep – 24 hours a day, 7 days a week, 365 days a year.  And nowhere is this unremitting change more apparent than in the world of investing.  Securities markets fluctuate ceaselessly – sometimes second by second.  People who invest in alternative assets like art and antiques may believe they have escaped this bewildering, cacophonous situation.  But this is an illusion.  Even the illiquid antiques market is always changing, albeit usually on a less manic timetable than traditional investments.

This constant variation can lead to unexpected – and sometimes negative – consequences.  One example of this is the psychological phenomenon known as anchoring.  Anchoring is the process where a person relies too heavily on immediate history to frame his opinion or world view.  This can be a pernicious bias in the world of investing in general, but especially so in antique investing.

Let me give you an illustration.  For many years I had admired the impressively large silver trade coins that France struck before World War II for its colony of French Indo-China in modern day Vietnam, Laos and Cambodia.  These extremely attractive silver coins, called piastres, bear the French personification of Liberty on the obverse.  The French version of Liberty on the piastre is seated, but otherwise looks uncannily like the Statue of Liberty in New York City’s harbor.  This is no coincidence as the Statue of Liberty was originally a gift to the United States from France in the late 19th century.

In any case, I had always thought about adding a specimen to my collection.  Prices were quite reasonable, if not downright cheap, with good quality examples selling for perhaps $25 to $40 each.  But I never did manage to pull the trigger.  Life distracted me.  There was always some other, more immediate obligation that needed my $40.

I thought this wasn’t much of a problem.  Although most of these coins are now over a century old, they were struck by the million.  So I assumed there would always be a ready supply of these coins available.  And besides, I reasoned, “Who, other than me, could possibly be interested in French Indo-China piastres?”

And for the longest time I was right.  For many years prices barely moved.  You could have bought a nice French Indo-China silver Piastre trade coin for $25 in the year 2000.  In 2005 it may have cost you $30.  In 2010 one may have run around $40.  I always thought I would be able to acquire a fine specimen for somewhere in this “traditional” price range.  I was wrong.

I was engaging in anchoring in the worst possible way.  I was allowing my knowledge of past prices to influence my ideas about future prices.  Instead of focusing on the relevant facts of the coin series – its attractive design, historical importance, impressive size and substantial silver content – I relied on the fact that prices had hardly changed over more than a decade, from the late 1990s to 2010.  I “anchored” to the old pricing structure and imbued it with an importance and permanence that it did not merit.

Anchoring is a fairly common mistake among antique investors.  The prices of antiques often “stair-step” upward over time.  This means that a certain investment grade antique may trade at a specific price point for an extended period of time only to double or triple in price over a relatively short time once it is “discovered” by aficionados and connoisseurs.

Today, in the fall of 2016, a problem free French Indo-China silver piastre in good, but not great condition will easily sell for $60.  And honestly, if you want a really nice, problem-free coin – a higher grade example that isn’t scuffed, nicked, harshly cleaned or otherwise impaired – it will most likely cost you at least $100.  This is what happens if you succumb to anchoring.  Prices walk, trot or, occasionally, gallop away from you.

I would like to think that my experience with French Indo-China trade piastres is an isolated situation.  Since then I have made a conscious effort to prevent anchoring from coloring my investment viewpoint.  And that is why I feel compelled to tell you this secret.  Prices for investment grade antiques are rising practically across the board.  They often sell for double or triple what they did only five or ten years ago.

And I don’t foresee this trend changing anytime soon.  I wouldn’t be surprised if many categories of fine antiques were to double (again) in value over the next five years.  Under these circumstances, anchoring is a grave financial misstep; don’t let it hamstring your antique investment plans.  The price you see today may just be the best opportunity you have to acquire high quality antiques.

Be Wary of Investing in Contemporary Art

Be Wary of Investing in Contemporary Art

I recently read an article on Bloomberg provocatively titled “That $100,000 Painting Bought to Flip Is Now Worth About $20,000“.  It talks about how an insane bubble in the contemporary art market that peaked in 2014 has now irretrievably burst, sending prices for the works of young, up-and-coming contemporary artists plummeting.  According to the article, prices of many pieces have dropped by anywhere from 50% to 95% over the two year stretch since their price peak in 2014.  The cynics among us might take this as proof that art is a terrible investment.

But I think that would be a poor conclusion.  For one thing, most of the works profiled in the Bloomberg article are not what I would consider art.  In my opinion, art must be beautiful.  Unfortunately, most contemporary “art” lies somewhere between competent color study at best and ugly as sin at worst.  So it shouldn’t be surprising that I avoid paintings (and large sculptures too, but that is another story) in my investment recommendations.

As an example, the Bloomberg article profiled a mixed media work by contemporary artist Lucy Dodd titled “Unwound Rope Wall Piece”.  It stated that the piece was only estimated to bring between $10,000 and $15,000 at auction, a far cry from her previous auction record of $37,500.  Unfortunately for Lucy Dodd, and anyone unlucky enough to buy her work, this piece of “art” looks like a very dirty window blind made out of dozens of loosely hanging strands of rope from an old mop.  If you think something like that is art, then I am sorry, but AntiqueSage.com is not the website for you.

However, most of the works profiled in the Bloomberg article were paintings.  While paintings can be wonderful works of art, I am not particularly enthused about them as investments for a few reasons.  First, paintings are the most widely recognized form of art.  Ask the average person what art is and 9 times out of 10 the answer will be paintings.  A side effect of this prominence in the public imagination is that paintings have been scoured relentlessly by professionals looking to invest in contemporary art.  Hence, there are few bargains to be found.

Second, the world of contemporary art – most of it paintings – is, more or less, a cesspool of insufferable, pseudo-intellectual junk.  Most contemporary artists don’t actually create works in hopes of producing beautiful, alluring pieces.  Instead, they have fetishized contemporary art into a morass of inaccessible, unapproachable and sometimes bizarre representational ideas.  If that doesn’t make any sense to you, then welcome to the club.  Most contemporary art strives to be performance art applied to a canvas.  And no, that isn’t a compliment.

And the people who actually invest in high-priced contemporary art are often no better than the artists who have created it.   These contemporary art consumers are usually just trying to impress their acquaintances at the local country club.  They don’t see the works as aesthetically pleasing or even really understand them.  Instead, they are just tools to project social status and power.  By this measure, the more money you spend on a contemporary painting and the fewer people who understand it, the better.

Lastly, the Antique Sage’s five rules of investing in art can be much more easily be applied to mediums other than paintings.  The investment desirability of any work of art is determined by five general attributes: size/portability, quality of materials and construction, durability, scarcity and stylistic zeitgeist.  But these qualities are far more easily defined and measured in the minor arts: jewelry, coins, miniature sculpture and objets d’art, among others.

In other words, while I can tell you how desirable many antiques and other minor arts are, I can render no valid, objective opinion on the investment merits of paintings – particularly contemporary paintings.  But, I do know that if you set a typical, non-representational, contemporary painting in front of 100 people, only 2 or 3 will find it to be attractive.  And, if anything, I’m being a little too kind with that assessment.  In reality, probably something closer to 1 in 100 people finds contemporary paintings to be visually appealing. That doesn’t sound like an asset with great investment potential to me.

So I’m not surprised that a bunch of self-important, avant-garde speculators lost a lot of money gambling in contemporary art.  And I also don’t have much sympathy for them.  As they say, those who sow the wind, reap the whirlwind – even in the art world.

Instead, this Bloomberg article underscores that real investment grade art – alluring ancient Greek coins, stunning Art Deco diamond jewelry and exquisite Japanese Edo era samurai tsuba, among others – is still a great investment.  This underrated asset class is not only remarkably accessible to the average person, with prices generally starting at only a couple hundred dollars, but has also suffered no significant price declines.  It simply isn’t subject to the whims of a few rich corporate executives or trust fund elites who enjoy dappling in the contemporary “art” market.