TheArtMarket 2021

The Art
Market 2021
An Art Basel & UBS Report

Prepared by Dr. Clare McAndrew
Founder of Arts Economics
Contents
Tables and Figures

Acknowledgments
4
11
3 Auction Sales
5 Online Sales
7 Economic Impact and Conclusions
Director’s Foreword 14 Key Findings 102 Key Findings 210 Key Findings 330
Foreword by UBS 15 3.1 | Auction Sales in 2020 104 5.1 | The Online Art Market 212 7.1 | Employment in the Art Market
3.2 | Price Segmentation in Fine Art Auctions 120 5.2 | The Online Retail Market 216 in 2020 332
Key Findings 17 3.3 | Fine Art Sectors 132 5.3 | Online Auctions 230 7.2 | Dealer Sector Employment 333
3.4 | Post-War and Contemporary Art 136 5.4 | HNW Collectors and Buying Online 242 7.3 | Auction Sector Employment 338
3.5 | Modern Art 148 5.5 | Website Traffic and Social Media 250 7.4 | Ancillary Economic Impact 340
1 The Global Art Market in 2020

3.6 | Impressionism and Post-Impressionism 154
3.7 | Old Masters and European Old Masters 160
3.8 | Conclusions 168
5.6 | Conclusions 260 7.5 | Conclusions 343
Key Findings 28
Global Wealth and Appendix – Sources Used in
1.1 | Overview of Global Sales 30
1.2 | Global Market Share 34
1.3 | Regional Performance 35 4 Art Fairs
6 Collector Perspectives The Art Market 2021 352
Key Findings 266

Key Findings 172 6.1 | Global Wealth in 2020 268
2 Dealer Sales
4.1 | Art Fairs in 2020 174
4.2 | Art Fair Calendar and Cancellations
in 2020 175
6.2 | Wealth Distribution and Millionaires 272
6.3 | Billionaires 277
6.4 | Art Collectors Survey 281
Key Findings 50
4.3 | Art Fair Survey 2020 180 6.5 | Description of the Collector Sample 287
2.1 | Dealers Surveyed in 2020 52
4.4 | Impact on Gallery Exhibitions in 2020 184 6.6 | HNW Collections of Art 292
2.2 | Dealer Sales 58
4.5 | Art Fairs and HNW Collectors 196 6.7 | HNW Collectors’ Expenditure on Art
2.3 | Dealer Margins 66
4.6 | Conclusions 205 in 2020 296
2.4 | Buyers 74
6.8 | Buying Channels for HNW Collectors
2.5 | Artist Representation 79
in 2020 306
2.6 | Artist Representation by Career Stage 82
6.9 | Collector Motivations 318
2.7 | Artists’ Gender and Representation 86
6.10 | Collectors’ Outlook 323
2.8 | Outlook for the Dealer Sector 90
4 Tables and Figures 5
Tables and Figures
1 The Global Art Market in 2020 Figure 2.20 | Change in Sales 2019–2020 by Share of Female Artists Represented 89
Figure 2.21 | Perceptions of Level of Support Received by Dealers versus their National Peers 91
Table 1.1 | The Global Art Market: Value and Volume of Transactions 31 Figure 2.22 | Perceptions of Level of Support Received by Dealers versus Same Size Global Peers 92
Figure 2.23 | Dealers’ Perceptions of Performance in 2020 94
Figure 1.1 | Sales in the Global Art Market 2009–2020 32
Figure 2.24 | Dealers’ Outlook for Sales in 2021 96
Figure 1.2 | Growth in Sales in the Global Art and Antiques Market 33
Figure 2.25 | Top Business Priorities for Dealers in 2019 and 2020 98
Figure 1.3 | Global Art Market Share by Value in 2020 34
Figure 1.4 | Global Art Market Share of the US, UK, and Greater China 2011–2020 35
Figure 1.5 | Sales in the Major Art Markets 2009–2020 41
3 Auction Sales
2 Dealer Sales
Table 3.1 | Annual Growth and Share of Sales of Auction Sales by Price Segment 124
Table 3.2 | Global Market Share: Old Masters Paintings in 2020 163
Figure 2.1 | Annual Sales Turnover of Survey Respondents in 2020 53 Figure 3.1 | Global Public Auction Sales 2011–2020 105
Figure 2.2 | Number of Years in Business 54 Figure 3.2 | Public Auction Market Global Share by Value in 2020 107
Figure 2.3 | Gallery Operating Restrictions and Measures in December 2020 55 Figure 3.3 | Share of Total Sales by Sales Channel (Second-Tier Auction Houses) 113
Figure 2.4 | Average Changes in Year-on-Year Turnover by Dealer Turnover Segment 2019–2020 59 Figure 3.4 | Number of Buyers in 2020 by Second-Tier Auction House Turnover Level 114
Figure 2.5 | Average Changes in Year-on-Year Turnover by Dealer Sector 2019–2020 60 Figure 3.5 | Local versus Foreign Buyers: Number and Share of Sales in 2020 115
Figure 2.6 | Volume of Sales by Price Bracket in 2019 versus 2020 61 Figure 3.6 | Share of Sales by Buyer Type for Second-Tier Auction Houses in 2020 116
Figure 2.7 | Dealers’ Outlook on Future Sales in 2021 62 Figure 3.7 | Share of Sales to Buyer Groups by Purchase History in 2020 117
Figure 2.8 | Share of Total Costs for Dealers in 2019 versus 2020 67 Figure 3.8 | Second-Tier Auction Houses’ Outlook for Sales in 2021 118
Figure 2.9 | Debt Ratios in the Dealer Sector 69 Figure 3.9 | Share of Lots Sold and Total Value at Global Fine Art Auctions in 2020 by Price Bracket 121
Figure 2.10 | Change in (Net) Profitability in 2019 versus 2020 70 Figure 3.10 | Share of Global Fine Art Auction Sales by Price Bracket (Online versus Offline) 122
Figure 2.11 | Number of Unique Buyers in 2020 75 Figure 3.11 | Growth of Sales by Value in Auction Price Segments 2005–2020 127
Figure 2.12 | Share of Dealer Sales to Buyer Groups by Purchase History in 2020 76 Figure 3.12 | Market Share of the Fine Art Auction Market by Price Segment in 2020 128
Figure 2.13 | Share of Dealer Sales by Buyer Type in 2020 78 Figure 3.13 | Share of the Fine Art Auction Sales by Female Artists by Price Level in 2020 130
Figure 2.14 | Number of Artists Represented by Dealers in 2020 80 Figure 3.14 | Market Share by Value of the Fine Art Auction Market: Selected Years 2000–2020 134
Figure 2.15 | Share of Artists Represented by Primary Market Dealers in 2020 83 Figure 3.15 | Market Share by Sector of the Fine Art Auction Market in 2020 135
Figure 2.16 | Change in Sales 2019 to 2020 by Share of Artists (Primary Market Dealers) 84 Figure 3.16 | The Post-War and Contemporary Art Sector: 2009–2020 137
Figure 2.17 | Share of Female versus Male Artists by Dealer Turnover 86 Figure 3.17 | Market Share of the Post-War and Contemporary Sector in 2020 138
Figure 2.18 | Share of Female Primary Market Artists Represented by Dealers 2018-2020 87 Figure 3.18 | Sales in the Post-War and Contemporary Sector 2009–2020: Key Markets 139
Figure 2.19 | Share of Female Artists Represented by Dealers in 2020 88 Figure 3.19 | Sales by Price Bracket in the Post-War and Contemporary Sector in 2020 140
Figure 3.20 | Share of Sales by Living versus Deceased Post-War and Contemporary Artists in 2020 143 Figure 4.14 | Share of Art Fair Sales by Dealers in 2019 versus 2020 194
Figure 3.21 | Share of Sales within the Post-War and Contemporary Sector: Living and Deceased Artists 144 Figure 4.15 | Share of HNW Collectors Purchasing from Art Fairs in 2020 196
Figure 3.22 | Sales of Living Artists’ Works by Price Bracket in 2020 146 Figure 4.16 | Exhibitions and Events Attended by HNW Collectors in 2019 versus 2020 198
Figure 3.23 | The Modern Art Sector: 2009–2020 149 Figure 4.17 | Planned Attendance at Local and International Events in 2021 200
Figure 3.24 | Market Share of the Modern Sector in 2020 150 Figure 4.18 | Earliest Date Collectors Plan to Attend Gallery Exhibitions and Fairs in Next 12 Months 202
Figure 3.25 | Sales in the Modern Sector 2009–2020: Key Markets 151 Figure 4.19 | Dealers’ Views on Art Fair Sales for All Galleries in 2021 205
Figure 3.26 | Sales in the Modern Sector by Price Bracket in 2020 153 Figure 4.20| Dealers’ Views on the Future of their own Art Fair Sales 206
Figure 3.27 | Impressionist and Post-Impressionist Auction Sales 2009–2020 155
Figure 3.28 | Market Share of the Impressionist and Post-Impressionist Sector in 2020 156
Figure 3.29 | Sales in the Impressionist and Post-Impressionist Sector 2009–2020: Key Markets 157
Figure 3.30 | Sales by Price Bracket in the Impressionist and Post-Impressionist Sector in 2020 158
5 Online Sales
Figure 3.31 | Old Masters Painting Sales 2009–2020 160 Table 5.1 | Website Metrics: Selected Companies in 2020 254
Figure 3.32 | Sales in the Old Masters Sector 2009–2020: Key Markets 165
Figure 5.1 | The Online Art and Antiques Market 2013–2020 213
Figure 3.33 | Sales in the Old Masters Sector by Price Bracket in 2019 166
Figure 5.2 | Share of Online Sales in the Art Market versus General Retail 2016–2020 214
Figure 5.3 | Average Share of Dealer Sales made Online (2019 versus 2020) 216
4 Art Fairs
Figure 5.4 | Average Share of Dealer Sales by Value Made Online in 2019 versus 2020 by Level
of Turnover 218
Figure 5.5 | Share of Online Sales by Dealers by Buyer Category in 2020 220
Figure 4.1 | Share of Global Art Fairs (Live Events) Cancelled in 2020 (365 Fairs) 175
Figure 5.6 | Share of Online Sales by Buyer Category and Level of Dealer Turnover in 2020 221
Figure 4.2 | Fairs Held and Cancelled and Monthly Cancellation Rates in 2020 (365 Fairs) 176
Figure 5.7 | Most Helpful Online Strategies for Dealers in 2020 and 2021 223
Figure 4.3 | Fairs Held and Cancelled and Cancellation Rates by Region in 2020 (365 Fairs) 177
Figure 5.8 | Growth in Online Metrics from March to December 2020 (Artlogic) 224
Figure 4.4 | Share of Art Fairs Holding Online Editions in 2020 (365 Fairs) 178
Figure 5.9 | Increase in Share of Online-Only Sales: Sotheby’s, Christie’s, and Phillips 231
Figure 4.5 | Share of Enquiries at Online-Only Artsy-Hosted Fairs (69 Fairs) 179
Figure 5.10 | Share of Online Sales by Second-Tier Auction House Annual Turnover in 2020 233
Figure 4.6 | Share of Works Offered on Art Fair OVRs in 2020 (138 Fairs) 181
Figure 5.11 | Share of Online Sales to Buyer Categories by Share of Auction House Online Sales 234
Figure 4.7 | Share of Works Offered on Art Fair OVRs by Price Segment 182
Figure 5.12 | Share of Online-Only Lots Sold (Fine Art Auctions) in 2020 236
Figure 4.8 | Art Fairs’ Future Plans for Live and Online Events in 2021 183
Figure 5.13 | Share of Online-Only Lots Sold (Fine Art Auctions) in 2020 by Price Segment 238
Figure 4.9 | Average Number of Gallery Exhibitions in 2020 185
Figure 5.14 | Share of Online Sales (via Invaluable) by Auction House Turnover Level in 2014, 2019,
Figure 4.10 | Average Number of Gallery Exhibitions in 2019, 2020, and Planned in 2021 186
and 2020 240
Figure 4.11 | Average Number of Art Fairs in 2020 188
Figure 5.15 | Share of Online Sales (via Invaluable) by Auction House Turnover Level 2017–2020 241
Figure 4.12 | Average Number of Art Fairs Attended/Planned in 2019, 2020, and 2021 191
Figure 5.16 | Share of Collectors Purchasing Online by Region 242
Figure 4.13 | Share of Dealer Sales by Value by Sales Channel (Turnover-Weighted) 193
Figure 5.17 | Share of Collectors Purchasing Online by Generation 243
Figure 5.18 | Use of Online Platforms During 2020 244
Figure 5.19 | Price Range Most Often Used to Purchase Art (Online versus Offline) in 2020 246 Figure 6.23 | Share of Collectors Most Commonly Purchasing at $1 Million and Above in 2020 304
Figure 5.20 | HNW Collectors’ Preferences for Viewing Art for Sale in 2020 247 Figure 6.24 | Sales Channels used for Purchasing in 2020 307
Figure 5.21 | Dealers’ Views on Growth of Online Sales (for All Dealers) in 2021 262 Figure 6.25 | Top Three Sales Channels used for Purchasing in 2020 by Generation 308
Figure 6.26 | HNW Collectors’ Preferences for Purchasing Art 309
Figure 6.27 | Number of Galleries HNW Collectors Purchased from in 2020 310
6 Global Wealth and Collector Perspectives Figure 6.28| Share of Local Galleries Versus Foreign Galleries that HNW Collectors Purchased From 312
Figure 6.29 | Collectors’ Focus Regarding Galleries during 2020 314
Table 6.1 | Outlook of HNW Art Collectors over the Short-, Medium-, and Long-term 324 Figure 6.30| Collectors’ Focus Regarding Artists during 2020 316
Figure 6.31 | Motivations for Purchasing Art 318
Figure 6.1 | Growth and Estimates in Regional and World GDP 2008–2023 269
Figure 6.32 | Share of HNW Collectors Having Resold Works from Their Collections in 2020 320
Figure 6.2 | The Distribution of World Wealth in 2020 272
Figure 6.33 | Average Length of Resale Period 321
Figure 6.3 | Number and Wealth of Dollar Millionaires 2010–2020 273
Figure 6.34 | Collectors’ Motivations for Resales 322
Figure 6.4 | Global Share of the Population of Dollar Millionaires in 2020 274
Figure 6.35 | Collectors’ Intentions for Purchases and Sales of Art in 2021 326
Figure 6.5 | Global Share of the UHNW Population with Wealth Over $50m in 2020 274
Figure 6.6 | Change in UHNW Population with Wealth Over $50m in H1 2019 to end of H1 2020 275
7
Figure 6.7 | Number and Wealth of Billionaires 2008–2020 276
Economic Impact and Conclusions
Figure 6.8 | Global Share of Billionaires in 2020 277
Figure 6.9 | Change in Billionaire Wealth March to December 2020 by Region 278
Figure 6.10 | Change in Billionaire Wealth March to December 2020 by Sector 279 Figure 7.1 | Share of Dealers Downsizing Employment in 2020 334
Figure 6.11 | Survey Market Summaries 282 Figure 7.2 | Projected Change in Dealer Employment in 2021 336
Figure 6.12 | Age Profile of HNW Collectors Surveyed (All Markets) 287 Figure 7.3 | Share of Second-Tier Auction Houses Downsizing in 2020 by Auction House Turnover 339
Figure 6.13 | Wealth Level of HNW Collectors Surveyed (All Markets) 288 Figure 7.4 | Share of Expenditure by the Global Art Trade on Ancillary Services in 2020 341
Figure 6.14 | Length of Time Collecting (All Markets) 289 Figure 7.5 | Ancillary Expenditure in 2019 versus 2020 342
Figure 6.15 | Collectors’ Allocation to Art in Overall Portfolio of Wealth 290 Figure 7.6 | Foot Traffic Index (UBS Evidence Lab) 348
Figure 6.16 | Size of HNW Collectors’ Collections (Number of Works) 292
Figure 6.17 | Collection Content: Share of Works Purchased by Artists’ Characteristics 295
Figure 6.18 | Share of HNW Collectors Having Purchased Art and Luxury Assets in 2019 and 2020 296 Appendix
Figure 6.19 | HNW Collector Expenditure in 2019 versus 2020 298
Figure 6.20| Share of Collectors by Expenditure Level in 2020 300 Figure 1 | Geographical Distribution of Respondents in 2020 355
Figure 6.21 | Median Expenditure in 2020 by Male versus Female HNW Collectors 302 Figure 2 | Share of Respondents by Reported Annual Turnover 356
Figure 6.22 | Most Common Price Range for Purchasing Art in 2020 (Share of Collectors) 303
Acknowledgments 11
Acknowledgments
The Art Market 2021 presents the results of research Chapter 1 provides an overview of the global
on the global art and antiques market in 2020. market in 2020, reporting on the value, volume, and
The report presents some of the key high-level trends regional distribution of sales of art and antiques.
in the global art trade, analyzing the performance It gives a brief overview of sales in the largest art
of different regions, sectors, and value segments of the markets over a 10-year period. The chapter also
market, and assessing the impact of the COVID-19 includes commentary on the effects of the change
pandemic on sales. in the US administration on the market and the
impact of the 5th Anti-Money Laundering Directive
The information presented in this study is based on
on auction houses and dealers in Europe.
data gathered and analyzed directly by Arts Economics
(artseconomics.com) from dealers, auction houses, Chapter 2 focuses on dealers and galleries, analyzing
collectors, art fairs, art and financial databases, sales and other key indicators, assessing how the
industry experts, and others involved in the art trade. COVID-19 pandemic has impacted on different value
(The Appendix offers an outline of some of the main segments and sectors of the market. This chapter
data sources used in the report.) looks at costs, margins, and debt in the sector as well
as artist representation. It also addresses the
changing priorities and outlook for dealers in 2021.
Chapter 3 looks at the auction sector, analyzing key

trends in sales by region and value segment, and how
they have been impacted by the pandemic in 2020.
It presents a comprehensive analysis of some of the
principal fine art auction sectors, describing their
performance in terms of sales, regional market share,
and price distribution.
Chapter 4 provides an overview of art fairs, reporting

on the dramatic changes to the art fair calendar in
2020 and the impact this has on art fairs, galleries, and
collectors. It assesses the outlook for 2021 given
continuing uncertainties, presenting the results of
surveys on high net worth (HNW) collectors, art fairs,
and dealers.
12 Acknowledgments 13
Chapter 5 looks at the online art market, and A critical part of this research every year is the global I am very grateful to Tamsin Selby of UBS for her advice on parts of the report, and also to Taylor
the rapid evolution in sales in 2021. The chapter shows survey of art and antique dealers. I would like to say help with the HNW collector surveys, which expanded Whitten Brown (Duke University) for her help and
how the dealer sector shifted sales and strategies a very special thanks once again to Erika Bochereau of significantly this year, providing hugely valuable insights with both of the dealer surveys.
online in 2020, with commentary on the development CINOA (Confédération Internationale des Négociants regional and demographic insights for the report.
Finally, thanks to Noah Horowitz and David Meier
of online viewing rooms (OVRs). It also shows en Oeuvres d’Art) for her continued support of
The primary fine art auction data supplier for this for their time and efforts in helping to coordinate
the growth of online auctions, and the evolution of this research, along with the presidents of the dealer
report was Artory, and my sincerest thanks to Nanne the research.
e-commerce in the top- and second-tier auction associations around the world who promoted the
Dekking along with Lindsay Moroney, Anna Bews,
houses. It also provides insights into how HNW survey among their members in 2020. Thanks also to
and Chad Scira for their hard work and dedication in
collectors have interacted with the market online Art Basel for helping to distribute the survey. The Dr. Clare McAndrew
putting together this very complex set of data.
and through social media, and their preferences completion of this report would not have been possible Arts Economics
The auction data on China is supplied by AMMA
in 2020 and for the future. without the help of all of the individual dealers who
(Art Market Monitor of Artron), and I am very grateful
took the time to support this research by completing
Chapter 6 provides a brief overview of world for their continued support of this research on the
the survey. I am extremely grateful to them all for
wealth, showing some of the preliminary changes in Chinese auction market. Many thanks also to
their continued help and support. Special thanks also
the size and distribution of HNW wealth that have Richard Zhang for his help researching the Chinese
to all those dealers who shared their valuable
emerged in 2020. This chapter presents the results of art market.
insights on the art market through interviews and
a comprehensive survey of HNW collectors, conducted
discussions during the year. I would like to thank Joe Elliot and the team at
in conjunction with UBS Investor Watch and covering
Artlogic for their valuable insights into the evolution
the largest sample size and widest geographical Many thanks also to all of the top- and second-tier
of OVRs, and many thanks also to Simon Warren
area to date, including responses from 2,569 collectors auction houses that also took part in the auction
and Alexander Forbes for the use of data from Artsy.
in the US, the UK, France, Germany, Italy, Mainland survey, and who offered their insights on the
China, Hong Kong, Taiwan, Singapore, and Mexico. evolution of this sector in 2020. Thanks especially Thank you to Diana Wierbicki of Withersworldwide
to Susan Miller (Christie’s), Simon Hogg (Sotheby’s), for her expert contribution on US tax and regulations,
Chapter 7 discusses the potential employment and
Jason Schulman (Phillips), and Eric Bradley and special thanks also to Rena Neville for her
economic effects of the pandemic on the art market,
(Heritage Auctions). Thanks also to Neal Glazier legal insights on the 5th EU Anti-Money Laundering
looking at its impact on employment as well as the
from Invaluable.com for the use of their online Directive. Many thanks also to Matthew Israel for
range of ancillary and support industries connected
auction data. his commentary on the development of OVRs. I am
to the art trade. It concludes the report by reviewing
very grateful to Anthony Browne for his help and
some of the key issues arising from the crisis in
2020 that may continue to affect the market in 2021.
14 Director's Foreword & Foreword by UBS 15
Director’s Foreword Foreword by UBS
The changes wrought on the global economy pages via Dr. McAndrew’s extensive surveys of In 2020, the COVID-19 pandemic overshadowed our UBS Art Collection, reinforcing our unbroken
by the COVID-19 pandemic are sure to capture the high net worth individuals, conducted in collaboration economies and societies. While the global economy commitment as a supporter and collector of
imagination for years to come. Yet, it isn’t too with UBS Investor Watch – bolstered the market, defied the most pessimistic predictions due largely to contemporary art for over 60 years.
early to begin the heavy task of unpacking this especially as confidence grew and global economies record monetary and fiscal interventions, many
It is also encouraging to see the development
complex terrain. normalized in the second half of the year. Aggregate industries and activities suffered enormous pressure
of a new generation of art collectors, bolstering the
declines of 22% by value were therefore not as or shut down entirely. In the art market, overall
We are honored to do so once again with Dr. Clare market with increased confidence online. The
steep as might have been anticipated, as collectors sales dropped by 22% as in-person fairs, auctions, and
McAndrew, Founder of Arts Economics, as we publish shift to digital has brought welcome improvements
continued to assiduously acquire art; as dealers exhibitions were cancelled by national lockdowns
this fifth edition of The Art Market in partnership in price transparency, and access to information
pivoted by reigning in costs and reimagining their and global travel ground to a halt.
with UBS. The merits of analytically-driven business and artists. Lowering barriers to entry for the market
strategies, often via innovative collaborations
intelligence in the art market have arguably never Out of crisis, however, springs innovation. Many enables development of a broader base of new
and partnerships; as auction houses experimented
taken center stage as they do now, with this latest businesses have demonstrated resilience and collectors at different price levels.
with novel digital sales offerings, while amplifying
research providing a clear lens onto the newly adaptability. New strategies and businesses developed
their private sales channels; and as online businesses Once this crisis is over, we foresee a more dynamic
configured landscape shaped by the shutdowns and rapidly while technological shifts already underway
vastly expanded their scope and services. market, where the discovery of great artworks can
disruptions of the past year and underscoring art’s reached warp speed. New and incumbent digital
unfold again at the exhibitions and gatherings we all
fundamental value through it all. On behalf of Art Basel, I would like to thank Clare platforms welded global markets together, accelerating
treasure, while a new and richer virtual world enhances
once again for her extraordinary efforts in putting long-anticipated transitions to a virtual economy.
The telltale finding of this year’s report is the the experience and our opportunities to learn.
together this industry-leading study, as well as In the artworld, that resulted in the online market
tremendous ascent of online sales, which doubled in
our counterparts at UBS who have been exemplary doubling in value within the year. UBS is proud to be Lead Partner of Art Basel for
value from 2019 to 2020, accounting for one quarter
partners and whose vital contributions continue nearly three decades. Since 2017, in addition, we have
of total sales. This precipitous rise was the dual Many transformations will stick once COVID-19
to grow year by year. Lastly, an earnest thanks to been delighted to co-present art market trends
product of both tireless digital innovation and sheer is brought under control. There’s no returning to the
the gallerists, art market professionals, and and information, a role ideally suited to our leading
necessity. While the permanence of these changes past. And there will be plenty of new opportunities.
our global team whose contributions make all of position worldwide in financial research and
remains to be seen, there is no disputing the roiling UBS Chief Investment Office believes that 2021 will be
this possible. analysis. We hope this publication serves as a useful
impact that the pandemic has had upon the trade. a year of renewal. It is a time to look afresh at
guide and leads to deeper insight into the potential
Virtually all market segments experienced declines industries and explore innovative new business
of the art market today.
last year, creating the biggest recession in the Noah Horowitz models for the future.
global art market since the financial crisis of 2009. Director Americas,
In times of crisis, we reflect on what we hold dear.
The event-driven rhythm of fairs, gallery openings, Art Basel Christl Novakovic
Art brings us together and reminds us of our humanity.
and auctions were thrown off kilter, limiting sales CEO UBS Europe SE and
Our survey of over 2,500 high net worth collectors
opportunities and slowing the pace of consignments Head Wealth Management Europe
globally revealed unflinching dedication to support
amid the uncertainty. But wealth gains at the Chair of The UBS Art Board
the arts – to collect with purpose and a long-term
highest end of the spectrum – mapped in these UBS, Lead Partner of Art Basel
plan. At UBS, we continue to acquire works for the
Key Findings 17
Key Findings
Global 1. Global sales of art and antiques reached an

estimated $50.1 billion in 2020, down 22% on 2019
and 27% since 2018.
2. Online sales of art and antiques reached a record

high of $12.4 billion, doubling in value on the previous
year, and accounting for a record share of 25% of the
market’s value.
3. Although all three of the major art hubs, the US, the
UK, and Greater China, experienced a decline in sales,
they continued to account for a majority of global sales
by value in 2020, at 82%.The US retained its leading
position with a share of 42%, with Greater China and the
UK on par at 20%.
4. Sales in the US art market fell by 24% in 2020 to

$21.3 billion, but remained 76% above their level in the
last recession in 2009.
5. Greater China’s sales decreased by 12% in 2020 to

$10.0 billion, the third year of falling sales values,
although a less severe decline than its other major peers.
6. Sales in the UK declined by 22% to $9.9 billion in

2020, their lowest level in a decade, but still 10% above
the previous recession in 2009.
18 Key Findings 19
Dealers 1. The fallout from the COVID-19 crisis had a negative Auctions 1. Public auction sales of fine and decorative art and
effect on aggregate dealer sales, with values declining antiques (excluding auction house private sales)
by 20% to an estimated $29.3 billion in 2020, after a were $17.6 billion in 2020, a decline of 30% from 2019.
marginal increase of 2% in 2019.
2. Private sales were conservatively estimated to have
2. The ability to reduce major operating costs allowed reached over $3.2 billion in 2020 (up 36% on 2019).
some dealers to maintain profitability in 2020: 28% Total sales conducted by auction companies, including
were more profitable than in 2019 and 18% maintained both public and private, were estimated to have
a stable level of net profit. reached $20.8 billion.
3. Dealers’ top priorities shifted markedly over 2020 3. The three largest auction market hubs of Greater China,
to focus on existing clients, online sales, and finding the US, and the UK retained a combined share of 81% of
ways to cut costs. Client relationships, online sales, and public auction sales by value. Greater China overtook
art fairs were their top priorities looking ahead to 2021. the US to become the largest market, with a share of 36%.
The US accounted for 29% and the UK 16%.
4. The majority of dealers (58%) expected an
improvement in sales in 2021, while 27% predicted 4. In 2020, the largest sector in the fine art public auction
they would be stagnant and 15% expected them to market was Post-War and Contemporary art (55%),
decline further. which along with Modern art accounted for just over
81% of the value of sales. Sales in the Impressionist
5. The size of dealers’ client bases shrank over 2020, and Post-Impressionist sector, the dominant category
with an average of 55 individual clients, down from 64 30 years ago, showed the largest decline in value year-on-
in 2019. year, with sales down over 50%.
20 Key Findings 21
Art Fairs 1. Of 365 global art fairs planned for 2020, 61% were Online 1. Despite the contraction of sales overall, aggregate
cancelled, 37% held live events, and the remaining 2% online sales reached a record high of $12.4 billion,
of fairs held a hybrid, alternative event. doubling in value from 2019.
2. A survey of 138 art fairs revealed that the majority 2. The share accounted for by online sales also expanded
(62%) offered an online viewing room (OVR) or digital from 9% of total sales by value in 2019 to 25% in 2020,
version of their fair in 2020. the first time the share of e-commerce in the art market
has exceeded that of general retail.
3. The share of art fair sales from live events declined
dramatically in 2020, accounting for just 13% of 3. The share of online sales in the dealer sector, including
dealers’ total sales, with an additional share of 9% art fair OVRs, expanded threefold in 2020 to 39% from
made through art fair online viewing rooms. 13% in 2019. Dealers at all levels showed significant
increases in the online component of their sales, with
4. Despite the high number of events being cancelled, the largest advance by those in the $10 million-plus
41% of high net worth (HNW) collectors surveyed turnover segment (to 47%).
reported that they made a purchase at an art fair in
2020, while 45% reported making one through an 4. In the fine art auction sector, 22% of the lots sold in
art fair’s online viewing room. 2020 were in online-only sales, double the share in
2019. Works priced over $1 million made up only 6% of
5. Just under half (48%) of the HNW collectors surveyed total online-only values, versus 58% for offline sales.
said they would be willing to go to an art fair in the
first six months of 2021, although 64% would be ready 5. 90% of HNW collectors visited an art fair or gallery
to attend local events. The majority of collectors OVR in 2020, and 72% felt it was important or essential
(68%) reported that they would be happy to attend any to have a price posted when browsing works of art for
fair by the end of Q3 2021, and over 80% into Q4. sale online.
22 Key Findings 23
Collectors 1. Surveys of 2,569 HNW collectors conducted by Economic 1. It is estimated that there were approximately 305,250
Arts Economics and UBS Investor Watch in 10 markets Impact businesses operating in the global art and antiques market
indicated active engagement in the art market despite in 2020, directly employing about 2.9 million people.
the COVID-19 pandemic. 66% of those surveyed reported
that the pandemic had increased their interest in 2. More than 2.6 million people were employed
collecting, including 32% who reported it had significantly worldwide in the gallery and dealer sector in 2020, down
done so. 5% year-on-year in about 291,000 businesses.
2. Millennial HNW collectors were the highest spenders 3. There were an estimated 14,250 businesses operating
in 2020, with 30% having spent over $1 million versus 17% in the auction market, including both online and offline
of Boomers. companies. Employment in the sector fell by around
2% year-on-year, with significant declines in some of the
3. Despite the restrictions in place, HNW collectors still top-tier auction houses.
purchased through a range of channels, with 81% having
bought art from a gallery in 2020, and 54% at auction. 4. The global art trade spent an estimated $16.6 billion
on a range of ancillary and external support services
4. Dealers were the most preferred channel for purchasing directly linked to their businesses, a decline of 16%
art, with the majority of HNW collectors (57%) preferring year-on-year.
to buy from their gallery or physical premises, while 29%
liked to purchase from them online and 14% by phone 5. Spending on art fairs went from being the largest area
or email. of ancillary expenditure in previous years (at 24% in
2019), to just 10% of the total in 2020. As they continued
5. 46% of HNW collectors focused only on galleries they their digital transformations, dealers and auction
had bought from before, with a further one third doing houses diverted more resources to IT, with spending up
this alongside being open to working with new galleries. by 80% year-on-year to $3.5 billion, the highest element
41% were only buying works of artists whose work they of ancillary spending.
had bought before.
The Global
Art Market
in 2020
28 1 | The Global Art Market in 2020 29
Key Findings
The Global 1. Global sales of art and antiques reached an 6. Sales in the US art market fell by 24% in 2020 to
Art Market estimated $50.1 billion in 2020, down 22% on 2019 and $21.3 billion, but remained 76% above their level in the
27% since 2018. last recession in 2009.
in 2020
2. Although many businesses maintained a significant 7. Sales in Greater China decreased by 12% in 2020 to
number of transactions online, on aggregate, the $10.0 billion, the third year of falling sales, although a
volume of sales was estimated to have decreased by less severe decline than its other major peers.
23% to 31.4 million, its lowest level since 2009.
8. Sales in the UK declined by 22% to $9.9 billion in
3. Online sales of art and antiques reached a record 2020, their lowest level in a decade, but still 10% above
high of $12.4 billion, doubling in value on the previous the previous recession in 2009.
year, and accounting for a record share of 25% of the
market’s value.
4. Although all three of the major art hubs, the US, the
UK, and Greater China, experienced a decline in sales,
these key markets continued to account for a majority
of the value of global sales in 2020, at 82%.
5. Despite its biggest fall in sales since 2009, the US

market retained its leading position, with a share
of 42% of global sales values, with Greater China and
the UK on par at 20%.
1.1 | Overview of Global Sales

The COVID-19 pandemic created the biggest recession
Global sales of art Reflecting back over the previous decade, the
last major recession saw sales fall in value by 36%
Table 1.1 | The Global Art Market: Value and
Volume of Transactions
in the art market since the 2009 global financial and antiques reached an in 2009 to a low of $39.5 billion, when the global
Year Value ($m) Volume (m)
crisis. Unlike that period, however, virtually all of the financial crisis affected nearly all parts of the market
mid-sized and larger art markets, including China, estimated $50.1 billion, (and representing a total decline of 40% from a 2009 $39,511 31.0
experienced a drop in sales values in 2020. Global down 22% on 2019 peak in 2007). 2010 saw a strong recovery, as the 2010 $57,025 35.1
sales of art and antiques reached an estimated booming Chinese market and a rapid rebound in the 2011 $64,550 36.8
$50.1 billion, down 22% on 2019. This was the art US pushed sales up to a high of just under $65 billion 2012 $56,698 35.5
market’s second year of declining sales, bringing that were already underway, most notably the rollout by 2011. China’s boom ended in 2012 creating a 2013 $63,287 36.5
values down by 27% since 2018. of digital strategies and sales, which had lagged slowdown in global values that year, however, strong 2014 $68,237 38.8
2015 $63,751 38.1
behind other industries up to now. Online sales of art sales elsewhere in the two years that followed,
The COVID-19 pandemic created a period of crisis 2016 $56,948 36.1
and antiques reached a record high of $12.4 billion, particularly in the US, saw values reach a peak of
and uncertainty for markets globally, as businesses 2017 $63,683 39.0
doubling in value on the previous year, and accounting $68.2 billion by 2014.
were forced to close their premises for extended 2018 $67,653 39.8
for a record share of 25% of the market’s total value.
periods, and live events, that have become pivotal in In the five years that followed, diverging performance 2019 $64,350 40.5
generating sales in recent years, were cancelled Heading into 2020, the art trade was already in different regions and sectors of the market resulted 2020 $50,065 31.4
around the world. The art trade was particularly under pressure as geopolitical tensions and economic in more muted annual sales growth. While some Growth 2019–2020 –22% –23%
vulnerable in this crisis, being based on discretionary uncertainty in some of the key art markets had key regions saw differing results, supply at the high Growth 2011–2019 –22% –15%
or non-essential purchasing, and heavily reliant on negatively affected sales in 2019, with a drop in value end of the market drove many of the bigger trends. Growth 2009–2019 24% 1%
events and travel. While dealers and auction houses of 5% to $64.4 billion. While dealers’ and private There was also a notable divergence in performance © Arts Economics (2021)
found ways to maintain exhibitions and trading sales maintained pace, those in the public auction between the auction and dealer sectors. From 2018,
online, the pandemic had a profound effect on sales, sector declined as supply shrank at the high the dealer sector (covering both the primary and
positive trajectory on aggregate being auction house
employment, and business practices. Although values end of the market. This uncertainty was significantly secondary markets) outperformed public auctions in
private sales.
declined and the full impact on business survival amplified in 2020, with the multiple lockdowns terms of sales growth, as the less certain economic
is not yet fully measurable, 2020 was also a period of stalling sales and shutting down events, while and political context created a perception among Public auction sales (excluding auction house private
restructuring and innovation, bringing with it what continuing political issues and economic volatility vendors of greater risk and less potential for sales) contracted by 30% in 2020, while sales in
many believe will be some lasting changes to the created a poor context for sales. Unlike past better-than-anticipated results at public auctions, the dealer sector fell by an estimated 20%. Private
market. The pandemic imposed an exogenous shock recessions, however, the declines in value were steering some to either hold back or sell privately. sales by auctions houses, on the other hand, rose
to the market’s system of operating, escalating trends spread throughout all levels of the market. This continued in 2020, although both segments of by 36% year-on-year from 2019. Combining all sales
the market declined, with the only significantly of auction houses (both private and public),
Figure 1.1 | Sales in the Global Art Market 2009–2020 Figure 1.2 | Growth in Sales in the Global Art and Antiques Market
Billion $ Annual % change Value Volume
$80 50% 44%
$70 $68.2 $67.7

40%
$64.6 $63.3 $63.8 $63.7 $64.4
30%
$60 $57.0 $56.7 $56.9
20%
$50.1 13% 12% 12%
$50 8%
10% 6%
$39.5
$40 0%
–5%
$30 –10% –7%
–12% –11%
–20%
$20 –22%
–30%
$10 –40% –36%
$0 –50%
2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
2008–2009
2009–2010
2010–2011
2011–2012
2012–2013
2013–2014
2014–2015
2015–2016
2016–2017
2017–2018
2018–2019
2019–2020
© Arts Economics (2021)
the auction sector accounted for 42% of the value of A detailed analysis of the dealer and gallery sector
sales in 2020 and dealers and galleries (including is given in Chapter 2, and Chapter 3 examines the
all online and offline retail sales of art and antiques
in the primary and secondary markets) for 58%.
auction sector, focusing on sales at public auctions.
The volume of sales was estimated
The division between public and private sales varies
Although many businesses maintained a significant
number of transactions online, on aggregate, the
to have decreased by 23%, to 31.4 million,
widely between different regions and sectors. The
boundary between these segments has also become
volume of sales was estimated to have decreased its lowest level since 2009
by 23%, with some of the biggest declines reported
less defined, with significant overlap between auction
for dealers and fine art auctions. This brought the
and dealer businesses as the network of sellers
estimated volume of sales to 31.4 million, its lowest
and transactions expands, both online and offline.
level since 2009.
Figure 1.3 | Global Art Market Share 1.2 | Global Market Share Figure 1.4 | Global Art Market Share of the US, UK, and Greater China 2011–2020
by Value in 2020 Although all three of the major art hubs, the US,
the UK, and Greater China, experienced a decline Share of sales by value US Greater China UK Others
Spain 1%
Others 7% in sales, these key markets continued to account
Germany 2% for a majority of the value of global sales in 2020 100%
Switzerland 2%
19% 16% 17% 17% 19% 17% 16% 18% 18%
France 6%
at 82% (stable on 2019).1 23%
80%
US 42%
Despite its biggest drop in sales since the global 21%
23% 22% 21% 21% 20% 20% 20%
22%
financial crisis in 2009, the US market retained its 20%
leading position in the global ranks with a share 60%

UK 20% 19% 21% 19% 18%
of 42% of sales by value. The Chinese art market was 25% 22% 20% 20%
30% 24%
the first major market to experience lockdowns 40%
in the first quarter of the year. However, it regained
some momentum in the second half of 2020,
43% 42% 44% 44% 42%
Greater China 20% 20% 39% 40%
and strong sales at the high end of the auction market 29%
36% 33%
© Arts Economics (2021) helped to move Greater China statistically on a

par with the UK, with a market share of 20%, up 2% 0%
on 2019. The UK retained a 20% share of global 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
The US market retained sales despite a very challenging year as businesses

in the art trade dealt with the pandemic alongside © Arts Economics (2021)
its leading position in the the difficult exit of the UK from the EU. After a
strong year in 2019, French sales also fell significantly,
global ranks with with its global share dropping back to 6%. Sales in 1.3 | Regional Performance in the art trade in the US noted that collectors were
a share of 42% of sales the EU (excluding the UK) were at 12%, a stable share The US has been the leader in global art market sales often focused on other matters outside of art and
year-on-year. for most of the recent past, but it had a challenging their collections in 2020. It had also been particularly
by value year in 2020 faced with one of the most severe hard to source supply in the secondary market
outbreaks of COVID-19 worldwide and a volatile and for some dealers and auction houses, with the year
divisive change in its political administration. perceived as a poor time to sell and with less
Although there are hopes that the new Biden-led overall opportunities for sales, despite demand still
government may bring about more stability, many being strong in some areas.
1 Unless otherwise specified, for the purposes of analyzing sales in this report, Greater China includes Mainland China, Hong Kong, and Taiwan.
36
Sales fell by 24% to $21.3 billion, their sharpest had direct effects on some sectors, including tariffs
decrease in value since 2009. The US market has been introduced on both Chinese and some European
a key driver of global art sales and one of the works of art in 2019. Although the categories of art
strongest performing markets of the past decade. remain relatively narrow and exclusions are still
Resilient sales in the US in 2010 helped drive the being sought by the art trade, these regulatory
art market’s recovery from the global financial crisis, changes continued to be a cause of concern in 2020,
with continuing growth in values to 2015. Political particularly as trade waned significantly during the
uncertainties and a drop in high-end sales caused year. Imports of art into the US in 2019 had already
the market to contract by 16% in 2016, however, this stagnated year-on-year, but in 2020 they fell by
was followed by a rebound to a historic peak 55% (to just over $5.2 billion and their lowest level
of just under $30 billion in 2018. In 2019, a significant since 2009).2
contraction in the auction sector brought the
While some decline in the US market was virtually
aggregate market’s value down 7% to just under $28
inevitable in 2020, experts within the art trade noted
billion, still its second highest level ever despite
that it was not as bad as expected due in part to an
the fall in sales. Although this second year of decline
increase in sales at the end of the year before changes
in 2020 has brought sales to the levels just above
in capitals gains tax were introduced. Although the
those of 2013, the market remained well in excess of
new administration’s policies in relation to the arts
the recession of 2009 ($12.1 billion). The US art
and taxation are yet to be determined, there is some
market has grown by 76% since 2009, which remains
optimism that 2021 may see more stability, which
significantly above other regions including Greater
may encourage greater activity by both vendors and
China (38%), the UK (10%), and the EU as a whole (-7%).
buyers in the art market. However, it is also deemed
US sales have grown 13% in the decade from 2011.
unlikely that generous tax breaks may be directed
Apart from domestic sales, the US has been a key to the very wealthy, which could dampen activity at
center for the cross-border trade in art, which has the high end. Exhibit 1 looks at some of these key tax
been critical to maintaining its leading position issues in the US market in 2020.
in the global market. The rise of protectionism in the
US under the Trump administration was a cause of
concern, as trade wars with China and other regions
2 Trade data for the US is from the USITC DataWeb.

Exhibit 1: A Note on the US Art Market, Taxes, and the New Political Administration
Diana Wierbicki, Withers, Partner and Global Head of Art Law, and Sarah Verano, Withers, Art Law Associate
The US Elections and Possible Federal Tax Reforms In addition to capital gains tax reform, Biden solidify, and the burden of sales tax compliance is US Tariffs on Chinese Artworks
The November 2020 US presidential election has proposed the elimination of the basis ‘step-up’, the only expected to increase as more states continue to Effective September 1, 2019, the US implemented
resulted in a change of leadership. President Joe Biden mechanism which generally attributes a date-of- adopt these regulations. As the COVID-19 pandemic customs tariffs of 15% on the import of Chinese
and Vice President Kamala Harris both have relatively death fair market value basis to any assets (including has increased pressure on already-strained artworks, defined to include all works of art, collector’s
strong records of supporting the arts, and their artwork) held by a decedent at death.3 A common state budgets, tax experts are expecting a number of pieces, and antiques. The rate was reduced to 7.5%
election was greeted with enthusiasm by many in the criticism of the ‘step-up’ rule is that it is known hold-out states, including Missouri and Florida, to on January 22, 2020. Whether an artwork is considered
artworld. Despite Biden’s support for tax increases to encourage a ‘lock-in effect’, discouraging taxpayers finally enact Wayfair rules to increase sales tax to be Chinese depends on whether it was originally
on the wealthy (likely to affect major art collectors), from realizing capital gains during their lifetimes revenues.6 For several reasons, Florida in particular created in China, not on the country from which it is
the change to the Biden/Harris leadership is also because the value of those gains can be passed on, tax has a high volume of art transactions. Already a staple being imported.
anticipated to be a stabilizing influence on both the US free, at death. This has been an invaluable estate- art fair location, in 2020, several galleries opened
Following the implementation of the tariffs, both
and international art markets. What tax reforms planning tool, minimizing the capital gains taxes due new Florida locations. Additionally, Florida has been
Christie's and Sotheby's auction houses applied
they decide to introduce, and when, remains to be on inherited assets and has encouraged tax-sensitive a longtime tax-friendly location, attracting new
for their imports of Chinese artworks to be excluded
seen, and the art market is watching and waiting. collectors to favor a buy-and-hold (until death) residents including art collectors. If Florida was to
from the tariffs, arguing that charging the tariffs
strategy. Although it is unlikely that this proposal enact a Wayfair rule, it would be of particular
At the end of 2020, leading into the November would be counterproductive and would result in a
directly influenced many sales at the end of 2020, the significance to the art market.
US presidential election, the possibility of a change significant loss to their US businesses. Christie's stated
elimination of this rule would certainly, in the long
in government encouraged a flurry of activity The other method states are anticipated to employ that the tariffs ‘… will severely impact the US art
term, result in greater liquidity in the art market.
in the art market. While each of the US presidential in order to increase their revenues is a step up in sales market as a whole, drying up any ability to purchase
candidates proposed changes to the tax code, The election of Biden and the party split in the tax enforcement, which we have already seen them Chinese artworks outside of the United States...
the frontrunner, Joe Biden, proposed a reform to the Senate (with Vice President Kamala Harris able to cast implement for auction transactions.7 Art dealers, Punishing the US art market in this manner flies in the
capital gains rules that would be certain to impact a tie-breaking vote) will officially tip the balance therefore, may need to employ more resources to face of an important American value of support for
art collectors. Under the existing rules, when a of power in favor of the Democratic Party. As a result, ensure compliance with sales tax withholding the artworld.’8
collector sells artwork owned for at least a year, any tax reform in 2021 or 2022 is an increasing possibility.4 obligations, particularly when relying on one of the
In July of 2020, the US granted the exclusions sought
capital gains are taxed at a preferential federal most common reasons for not collecting sales tax
by Christie’s and Sotheby’s for imports of Chinese
collectibles rate of 28%, plus a potential additional US Sales Tax Developments – lack of ‘nexus’ or local tax presence.
artworks, however, the exclusions expired on
3.8% net investment income tax. Biden proposed In 2018, the South Dakota v. Wayfair US Supreme
September 1, 2020. On December 29, 2020, the US
eliminating this preferential rate for taxpayers Court decision gave states a green light to enact US Tariffs on Photos, Prints, and Lithographs
Trade Representative announced the extension
with incomes over $1 million, meaning that such gains economic nexus statutes requiring out-of-state sellers In 2019, the US imposed tariffs on various EU products,
of certain exclusions through March 31, 2021. Notably,
would be taxed as ordinary income. Biden also to collect sales tax on sales over a certain value or including a 25% tariff on printed books, brochures,
an extension was not provided for works of art.
proposed raising the current ordinary federal income volume threshold.5 Because art sales often have such leaflets, printed matter in single sheets, lithographs
tax from its current rate of 37% to just under 40%. high values, dealers and auction houses often surpass on paper or paperboard created in the last 20 years,
Recognizing that if Biden were to be elected, such tax the thresholds in a single sale and need to collect and pictures, designs, and photographs printed in
reforms could be effective as of January 1, 2021, some these out-of-state taxes on a regular basis, which many the last 20 years being imported into the US from the
collectors rushed to complete sales of artworks have noted has significantly increased their UK and Germany. These tariffs are set to remain in
with large gains before December 31, 2020, to ensure administrative burdens. Dealers’ obligations to collect effect for the foreseeable future.
they could capture the 2020 collectibles rate. sales tax when shipping out-of-state continue to
3 https://taxfoundation.org/joe-biden-tax-plan-2020/. 6 Bologna, M. and Baltz, T. (2021), “Flock of New State Taxes on E-Commerce Predicted for 2021”, Bloomberg Daily Tax Report, available at
4 Following the election, early Biden appointments continue to make tax reform look likely, including the appointment of Senator Elizabeth Warren, a long https://news.bloombergtax.com/daily-tax-report/flock-of-new-state-taxes-on-e-commerce-predicted-for-2021.
proponent of wealth taxes, to the Senate Finance Committee, and the Treasury Department’s hiring of several international tax specialists. 7 See https://www.manhattanda.org/d-a-vance-to-deliver-10-million-to-new-york-state-following-investigation-into-christies-auction-house/; https://ag.ny.gov/
5 South Dakota v. Wayfair, Inc., 138 U.S. 2080 (2018). press-release/2020/attorney-general-james-sues-sothebys-defrauding-new-york-taxpayers-out-millions.
8 Niquette, M. (2019), “Christie’s Seeks Relief from Trump’s ‘Punishing’ Tariffs on Art”, available at
https://www.bloomberg.com/news/articles/2019-10-31/christie-s-seeks-relief-from-trump-s-punishing-tariffs-on-art.
Despite a difficult start to the year, some strong Mainland China in the second half of the year. Values Figure 1.5 | Sales in the Major Art Markets 2009–2020
auction sales in the last quarter helped boost Greater were also boosted significantly by some very high-value
China to a position of parity with the UK art market, individual sales in the auction sector in the second Billion $ France UK EU US Greater China
and second in the global ranks. The Chinese market half of the year, with Greater China leading the global
led the UK in the years between 2010 and 2014, but public auction market by a considerable margin. $35
then after several years of parity, the UK had pulled

Some experts within the trade believe this recovery $30
ahead in 2018 and 2019, as slowing economic growth,
was partially assisted by the resolution of VAT
trade wars with the US, changes in VAT policies in $25
issues that had arisen and stymied the Chinese market
Mainland China and political unrest in Hong Kong all
in 2018 and 2019. Under VAT reforms in late 2018, $20
fed into more cautious buying and weaker supply at
auction houses could only issue formal VAT invoices
the high end of the dominant auction market. In 2020,
(Fa Paio) for the commission income they received $15
sales in Greater China declined by 12% to $10 billion, the
from buyers (not the full sales price, with hammer
third year of declining values, although a considerably $10
price and premium, which was required to be issued
more moderate contraction than its other major peers.
directly by the sellers). As most vendors were private $5
Sales in Greater China were 49% lower than their level a individuals, this was fraught with difficulties, not just
decade earlier when, at the height of its boom in 2011, in obtaining the necessary permission and documents $0
values totaled $19.5 billion. However, this was followed from the tax department to do so, but also in the 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
by a sharp contraction of 30% in 2012 and a period process of issuance as information about buyers and
of stagnant growth to 2016. After a short rebound in sellers would need to be exchanged, which went against © Arts Economics (2021)
2017, economic issues, trade wars, and other issues the current accepted practices of the auction industry
led to cautious buying and selling, with declining sales in Mainland China. As a result, in 2018 and 2019,
for the next two years. China was the first market to
feel the effects of the pandemic at the start of 2020,
without access to full invoices, some corporate and
institutional buyers, who could claim the purchase
Sales in Greater China
with the cancellation of major fairs such as Art Basel price of works of art as expenses with a full invoice, declined by 12% to $10 billion, the third
Hong Kong as early as March. Despite dealing with reduced their activity in the auction market. From
multiple waves of the pandemic, the Chinese market May 2020, changes in regulations allowed auction year of declining values
was slightly ahead in terms of a return to more houses selling art to issue full invoices, which may have
normal functioning, with successful fairs held within stimulated some sales in the second half of the year.
The UK retained a 20% share of the art market, stable to gain as the next largest market and base for many businesses noted that they were already collecting However, while it is likely that travel may take some
year-on-year, although losing its 2% margin with larger businesses in Europe. However, while there much of the required information, during 2020, the time to revive to pre-pandemic levels, international
Greater China. 2020 was a very challenging year for were hopes by members of the French art trade that formal information-gathering requirements have trade and cross-cultural communication and
many businesses that were forced to deal with both high-value trade potentially lost to London might created administrative burdens and costs for dealers exhibition remain at the core of the global art market.
the impact of the pandemic alongside the economic also be diverted to Paris, this remains to be seen, with in Europe, and are also being phased into the US in Because works of art, especially at the upper levels of
uncertainty generated by the threat of a no-deal these transactions also possibly bypassing Europe 2021 for antiquities dealers. (Exhibit 2 discusses some the market, are often not traded directly between
Brexit. Sales in the UK fell 22% to $9.9 billion, their altogether to the benefit of the US or China. After a of the main issues regarding these regulations in artists and collectors, the comparative advantages of
lowest level in a decade, but still 10% above the positive year in 2019 when most other markets more detail.) different markets are not based on which regions
previous recession in 2009 when they had dropped were receding, sales in France fell 33% to an estimated can produce the best art, but on which markets allow
Sales in the art market have often been relatively
to just under $9 billion. $3.1 billion. Sales in most of the other mid-sized an efficient and cost-effective interaction between
durable, despite issues in the wider economic and
markets in Europe experienced similar double-digit buyers and sellers. Such sales could, in principle, take
The final Trade and Cooperation Agreement for the political environments, and have also reacted in very
declines, as sales in the EU as a whole dropped place anywhere, which is why the political and
UK’s exit from the EU was signed in December 2020, different ways to recessions that have occurred in
22% to $15.9 billion (or just $5.9 billion measured regulatory environment plays an even more important
and from January 2021, imports into the UK from the past. The unpredictable global landscape of 2020
without the UK market as will be the case from 2021). role for comparative advantage in the art market
EU states have been subject to VAT and other charges, presented the art trade with some of its biggest
than it does for trade in other goods. Those markets
which has created concerns for businesses in the art A significant issue for the art market in Europe in 2020 challenges to date, and has brought some fundamental
that maintain a healthy flow of cross-border sales
market that trade with and from Europe. Imports of was the introduction of various requirements and changes, particularly the acceleration of the market’s
are therefore still likely to see the most positive future
art and antiques were recorded by the HM Revenue regulations under the 5th EU Anti-Money Laundering digital transformation. Although businesses found
growth scenarios.
and Customs (HMRC) as $2.1 billion in 2020, down one Directive, which is implemented by national ways to maintain trading online, the pandemic had
third on 2019. Of these, 87% by value were imports legislation. In the UK, the UK Money Laundering and a profound impact on sales and some of the effects
from outside the EU, meaning much of the higher Terrorist Finance Amendments Regulations became on employment and business structures are still
value trade with major partners such as the US and effective in January 2020. These regulations have unfolding.
China remains unaffected.9 meant that the art market has become part of the
While the art market is built around cross-border
regulated sector across Europe for anti-money
While it is likely that London will retain its attractive- trade, the importance of local markets was
laundering (AML) purposes, and as such, all art market
ness as a global hub and location for top-tier sales, emphasized in 2020, with sales at a more local
participants involved in transactions worth €10,000
with the expertise, infrastructure, and relatively and regional level rising for some businesses in the
or more are required to carry out satisfactory
trade-friendly regulatory stance required, some of absence of major global events. International
‘know your client’ and ‘customer due diligence’ checks
the lower value, domestic EU art trade may shift trade (imports and exports) of art also diminished
before completing transactions. While some
outside of the UK to other EU states, with Paris likely significantly in some of the major markets.
9 Data is from the HMRC and covers imports of all items included in HN Code 97 works of art, collectors’ pieces, and antiques. Because some transactions are accounted
for via the VAT margin scheme in the EU, official statistics can underestimate intra-EU trade. Research carried out by Arts Economics on behalf of the British
Art Market Federation indicated that for some of the major auction houses, consignments from EU member states accounted for up to 25% of their UK sales on
average. The main dealer associations in the UK reported that on average between 10% and 22% of dealers’ purchases for subsequent sale were made in the EU.
These figures indicate that even accounting for under-recording, the majority of the value (75% or more) of trade into the UK is from outside the EU.
Exhibit 2: The Anti-Money Laundering Difference: Knowing the Ultimate Customer

Rena Neville, Founder and Director, Corinth Consulting Ltd.
In 2019 and 2020, one of the biggest changes to These obligations are not directly intrusive to as well as paid search services help uncover publicly In guidance for the UK art market approved by Her
the regulatory structure of the global art market was the dealer – client relationship, however, they have available facts that may indicate these risks. Majesty’s Treasury, the dealer may rely on the agent’s
the implementation of the EU’s 5th Anti-Money added burdens in both direct costs and time. In CDD, if the agent themself is regulated. However,
Moving to the next steps and assuming a simple sale
Laundering Directive (5AMLD), particularly in the UK, a year when sales in the market were down by more in reality, the ultimate client’s identity still needs to
to a private individual, the dealer must also obtain
as the first of the major international art markets than 20%, some of these costs, such as the £5,000 be disclosed, even if not immediately, within the
proof of the individual’s identity that they need to
to be formally regulated. The full impact of the to set up the anti-money laundering function, have supporting identification and verification documents.
then verify. The proof is often an official, government-
Directive is still unfolding, in part because the UK been particularly burdensome, particularly on The agent must confirm to the dealer the CDD steps
issued document that is in date and contains a
postponed the registration deadline for the art some smaller businesses. Additional hidden costs they have taken to satisfy themselves about their
photograph and the date of birth (with the standard
market to June 2021 (from the initial January deadline). include staff training, program administration, and client, and a generic statement will not do.
being a valid passport or driver’s license). The next
Some have confused delayed registration with management time, as well as a need potentially for
CDD step is verification in two parts – ideally seeing This disclosure of the ultimate client is problematic
delayed application of the new law, however, 5AMLD upgraded data systems to better track and retrieve
the document and the person together to confirm for each party – the dealer, the agent, and the client.
has, in fact, been in effect since January 2020. Given relevant information for government audits.
the likeness, and verifying the residential address in It is problematic for the dealer as it remains liable for
the delay and the confusion over 5AMLD, it would be
However, in contrast to these relatively minor issues, the form of a bill dated within the last three months, criminal fines and imprisonment if there is a problem
premature to assess its full impact, but certain
the most intrusive and costly in terms of possibly such as a utility, tax, or phone statement. with the ultimate client’s CDD. For competitive reasons,
challenges are already apparent.
lost, legitimate business are the ‘Know Your Customer’ the agent has no interest in disclosing the name of
Some dealers fear that certain serious collectors or
Both the domestic UK art market and its international duties. ‘Knowing’, in the anti-money laundering sense, their client, and the client may be working with an
particularly well-known individuals and celebrities
peers are struggling most with the ‘Know Your may be divided into three parts, all of which need agent precisely to remain anonymous. This scenario is
may be reluctant to show a passport or driver’s
Customer’ aspects of the ‘Customer Due Diligence’ to be completed before any payment is accepted by a exponentially more difficult if the agent and the
license, to say nothing of producing a recent utility
(CDD) requirements under 5AMLD. As applied in dealer: does the transaction ‘make sense’ given the client are in the US or in other regions that are not yet
bill. Even if they do not mind in principle, securing
the UK, art market participants are obliged to lift the deal structure, who the buyer is and their wealth; the covered by a local anti-money laundering regime.
this information risks diminishing a client’s impulse
veil of anonymity and uncover the identities of need to obtain proof of the ultimate buyer’s identity; In this case, the UK dealer may not rely on the US
to purchase. In contrast to the art market, when
the ultimate beneficial owner involved in transactions. and finally, to verify that identity. agent’s due diligence but should secure the CDD
the same high net worth client buys a £10,000 outfit,
The ‘Know Your Customer’ rules are most challenging information for themselves, which presents one of
To determine whether a transaction ‘makes sense’, they need only produce a credit card and are free to
for many galleries and dealers as they strike at the the most problematic scenarios and one not
the UK applies a risk-based approach to uncover leave the shop with their purchase.
core of the selling relationship. uncommon particularly at the higher end of the sector.
anything problematic, unusual, or suspicious. Aspects
CDD becomes yet more challenging when a buyer has
Although still burdensome, other aspects of the of a risk-based approach might include whether the This uneven playing field for the many US/UK
an art advisor and the ultimate client/purchaser is
new law are relatively less difficult to endure. These person is on any sanctions or terrorist lists, are they transactions that occur appears to be a relatively
a company of which the buyer is the sole shareholder,
include routine compliance obligations such as: a politically exposed person (involved with, or a close short-term discrepancy, as the US is aggressively
known in AML circles as the ultimate beneficial
conducting a risk assessment; implementing policies, relative of, a government official), is their source enhancing its own efforts to expand money laundering
owner or UBO. In this scenario, the art advisor must
procedures, and a training program that addresses of wealth readily known or easily ascertained, is the regulations to include the entire US fine art market.
provide to the seller dealer proof of CDD on themselves
the identified risks; appointing a Money Laundering amount of their potential purchase consistent with The US government is not only actively urging that its
and their authority to act as an agent, as well as
Reporting Officer who is adequately supported; their means, do the locations of their work, residence, domestic art market adopt a risk-based approach
disclosing the identity of their ultimate client, in this
and monitoring the program and keeping relevant and bank make sense and are they located in a to AML compliance, but the Federal Government has
case the sole shareholder of the corporation.
records. high-risk jurisdiction for money laundering, as defined already decided to regulate the antiquities market
by the EU. General, internet adverse media checks and is conducting a study in 2021 to decide whether
to extend AML regulation under the US Bank Secrecy Leading on from the investigation, in October 2020, 5th EU Anti-Money Laundering Directive: Key Components
Act to the broader art market. the US Department issued an advisory note that
‘strongly recommends’ that the US art trade adopts a Who is an ‘art market Art market participants include auctioneers, dealers, and art advisors transacting in a single or series
The most recent event that drew the attention of participant’? of linked transactions of a ‘work of art’ valued at €10,000 or more, as well as operators of freeports
risk-based approach to AML compliance. This is a that store ‘works of art’ for a person or series of persons valued at €10,000 or more.
the US Government to the art market was an
worst-case scenario for the US art trade because AML
investigation launched by the US Senate with findings What constitutes a ‘Work of Art’ is not defined in the 5AMLD, so it is to be applied as defined by each of the EU member
compliance is simply recommended, not legally
published in 2020, in part triggered by ineffective ‘work of art’? states. For example, the UK has applied its pre-existing definition of art as set out in the Value Added
required. Whereas the UK trade at least has the excuse Tax Act of 1994, Section 21(6). It is critical to check local definitions.
sanctions imposed after Russia’s annexation of the
when they ask clients for their passports and utility
Crimea in 2014. In response to the February 2014 When did 5AMLD become Under the 5AMLD, each member state was to implement the Directive by January 10, 2020. Of the
bills that, ‘it is not me, it’s the law, I trust you’, US
Russian annexation of the Crimea, the US imposed applicable? current EU member states, one member state has failed to communicate any transposition measure
dealers do not have the luxury of ‘hiding behind’ the and eight have communicated only partial transposition measures.
sanctions and added certain Russians to their
law in this way.
Specially Designated Nationals And Blocked Persons Is 5AMLD limited to ‘new’ 5AMLD applies to all new clients as of January 10, 2020, as well as previously existing clients.
List (SDNs). In March 2014, the brothers Arcady On January 1, 2021, as part of the National Defense clients or does it also ‘Customer Due Diligence’ must be done for all transactions post January 10, 2020 before a transaction
apply to existing clients? is completed. For previously existing clients, CDD must be done at certain prescribed times, such as
and Boris Rotenberg were placed on the SDN List but Authorization Act, the US Congress extended to the
when applying a risk-based approach to an existing client or if a client’s circumstances change.
still managed to conduct a successful buying spree antiquities market the client disclosure requirements
between March and November 2014. They reportedly under the US Bank Secrecy Act. Perhaps more Were there any prior laws Yes, in different ways in different countries. For example, in the UK, the Proceeds of Crime Act 2002
affecting the art market and the anti-bribery and anti-corruption laws have generally applied to any suspicions of money
purchased art works worth $18 million at auction importantly for the contemporary and fine art markets,
and anti-money laundering? laundering or dealings in stolen goods. The 5AMLD builds on these more general obligations to make
houses and through private sales in New York via in the same legislation, the US Congress directed art market participants specifically regulated entities.
shell companies that the US contends were funded or a report to be conducted to ascertain whether the
owned by the ultimate beneficial owners, the US Bank Secrecy Act should be extended to the
Rotenbergs.10 broader US art market. It would seem more likely than
not that the disclosure requirements will soon
The US Senate report of July 2020 disclosed that the
also be required in the US, potentially as early as 2022.
Rotenbergs’ bidding and buying agent was a US citizen
in Moscow, who paid for the purchases with funds With the threat of further regulation in the US,
received from shell companies that were purportedly there is little doubt that 2021 will be yet another
traced to the Rotenbergs. Sotheby’s and Christie’s challenging year. However, if the changes ultimately
were aware of the sanctions against the Rotenbergs result in consistency across the UK and US art
but did not dig deeply enough to uncover the markets, it would at least become a more level
ultimate beneficial owners, that is, the ones who playing field between these two markets, leaving
actually paid for the purchases. Arguably, had the US China then as the next frontier.
art market been regulated under a similar risk-based
approach as the UK, knowledge of the ultimate
buyers would have been discovered, the transactions
not concluded, and the sanctions would have been
effective.
10 See Dawkins, D. (2020) Putin’s Billionaire Judo Buddy Accused Of Buying Art To Launder Money Despite US Sanctions, available at
www.forbes.com/sites/daviddawkins/2020/07/30/putins-billionaire-judo-buddy-accused-of-buying-art-to-launder-money-despite-us-sanctions.
Dealer Sales
50 2 | Dealer Sales 51
Key Findings
Dealer Sales 1. The fallout from the COVID-19 crisis had a negative 5. The size of dealers’ client bases shrank over 2020,
effect on dealer sales, with aggregate values declining with an average of 55 individual clients, down from
by 20% to an estimated $29.3 billion in 2020, after a 64 in 2019.
marginal increase of 2% in 2019.
6. Dealers’ top priorities shifted markedly over 2020
2. A survey of the dealer sector at the end of 2020 to focus on existing clients, online sales, and finding
revealed an average year-on-year decline in sales of ways to cut costs. Client relationships, online sales, and
23%. The most significant average annual declines art fairs were their top priorities looking ahead to 2021.
were reported by dealers with turnover greater than
$10 million, at 31%. 7. The majority of dealers (58%) expected an
improvement in sales in 2021, while 27% predicted
3. The ability to reduce major operating costs allowed they would be stagnant and 15% expected them to
some dealers to maintain profitability in 2020: 28% decline further.
were more profitable than in 2019 and 18% maintained
a stable level of net profit.
4. Almost half (48%) of dealers surveyed accessed

loans for their businesses over 2020, with 68% availing
of government lending or other repayable credit.
2.1 | Dealers Surveyed in 2020 strengthening the position of the biggest dealers that The dealers surveyed were geographically diverse, Figure 2.1 | Annual Sales Turnover of Survey
While the dealer sector has been one of the most might have more financial leeway and whose buyers covering over 55 different national markets. The Respondents in 2020
resilient parts of the market in recent years, the might also enjoy a greater degree of insulation from highest share came from Europe (54%), and within
COVID-19 pandemic and the unpredictable environment the cultural and economic traumas of COVID-19. Europe, one third of the sample was from the UK and Over $10m 6%
it created presented businesses with significant Although the longer-term effects of the pandemic are France. Dealers from North America accounted $5m–$10m 6%
challenges in 2020. Although many businesses still unfolding, the sales results for the year indicated for 20% of the survey’s respondents, with 18% from
continued making sales throughout the year, including that some of the largest galleries were among the US, while 15% were from Asia, including 9% Under $250k
38%
those at the high end of the market, the fallout from those experiencing the most significant declines in from Greater China.
$1m–$5m
this crisis had a negative effect on aggregate sales, sales. However, businesses at all levels were forced 24%
Most of the dealers surveyed (95%) reported that
with values declining by 20% to $29.3 billion in 2020, to review their strategies in the face of changed
they currently operated from a physical premises or
after a marginal increase of just over 2% in 2019. consumer behaviors and new economic realities, and
gallery, and of those, 94% reported physical locations
the pandemic has brought structural change to the
The effects of the crisis were also not evenly in just one location or market. A small share of
sector that may extend well beyond 2021.
distributed within the sector, with dealers in different respondents (6%) maintained physical premises in $500k–$1m 13% $250k–$500k 13%
regions and value segments faring very differently, The results presented in this chapter focus on the two or more different national locations, with 2%
including a minority who experienced an increase in core dealer sector, consisting of businesses trading in operating out of three or more. © Arts Economics (2021)
sales. Some businesses closed, and the extent to fine art, decorative art, antiques, and antiquities.
The survey covered all sectors of the art and antiques
which others will survive over the coming years is still The details of gallery and dealer sales are private, and
market, although respondents were predominantly
to be determined. However, a notable development there is limited current and publicly available data
fine art dealers (90%), with 10% operating in decorative in art fairs, the respondents were, for the most
in 2020 was that some dealers managed to maintain on turnover and other aspects of their businesses.
art and antiques. Almost 70% of the sample dealt in part, more established businesses, and the survey
and even enhance profitability with costs also To research the sector, surveys are a critical tool.
contemporary art, either alone or with another sector omits very many small businesses and sole
decreasing – one of the more striking outcomes Arts Economics conducted a series of two surveys of
such as Modern art. traders. Respondents still varied in the size of their
during the year. Prior to 2020, this sector tended to the sector in 2020.11 The first survey in July focused
annual sales turnover: 64% had annual sales of less
be a top-heavy, winner-take-all market, with only on contemporary and Modern art galleries (with The global dealer sector is made up of an estimated
than $1 million (including 38% with less than
businesses at the higher value end tending to show 795 responses), and then a more comprehensive 291,000 businesses covering both the primary
$250,000), and just 6% reported sales in excess of
stronger growth in sales in most years than small and survey of all sectors was carried out at the end of the and secondary markets, the vast majority of which
$10 million (compared to 9% in the global dealer
mid-sized businesses. One of the biggest concerns year. This survey, conducted in December 2020, are small and micro-sized businesses, both in terms
survey conducted in 2019). The breakdown of sales
in 2020 was that the pandemic and resulting economic forms the basis of much of this chapter, with 920 of headcount and sales turnover. As the survey
in 2020 is provided in Figure 2.1.
crisis could intensify this polarized framework, responses used in the analysis that follows.12 sample was drawn from dealers that are members of
accelerating the decline of smaller businesses and dealer and gallery associations or who participate
11 These surveys were conducted in collaboration with Taylor Whitten-Brown, Department of Sociology, Duke University.
12 The surveys were supplemented with interviews with dealers in different sectors and regions to provide deeper insights into some key trends.
More information on the dealer survey and sources used in the report is given in the Appendix.
Figure 2.2 | Number of Years in Business Figure 2.3 | Gallery Operating Restrictions and Measures in December 2020
Share of respondents Share of respondents
35% 100%
91%
30% 29%
80%
70%
25% 23%
20% 60%
17% 48%
15% 40%
11% 34%
10%
10%
5% 5% 20%
5% 9% 7% 7%
3%
0% 0%
Under 5 years 5–10 years 11–20 years 21–30 years 31–40 years 41–50 years Over 50 years Social/physical PPE and Appointment- Reduced Partial Extended Others Online selling
distancing sanitation only hours opening hours only
© Arts Economics (2021) © Arts Economics (2021)
As the sample was drawn from associations and To put this in context with other industries, 67% When the survey was conducted in December 2020, The most common measures implemented in
art fairs, most responding dealers were also relatively of dealers had been in business for more than 10 years 5% of the dealers responding did not currently response to COVID-19 related to social and physical
well established in terms of their tenure of operation.13 (from 63% in 2019) versus a share of 42% for US operate a physical gallery or premises. Of those that distancing (91% of open galleries), which included
The majority had been in business for longer than retail businesses, 38% for businesses in the arts and did, 87% were open for business, with 16% of those limiting visitor capacity, changing the gallery layout,
10 years, with an average of 21 years and median of entertainment industries, and 37% for the US private reporting that they were open and running normally and alterations to staff scheduling, including remote
16 years. (This average was down slightly from the sector generally in 2020. The share of businesses or in the same manner as they had in previous years. work and shift work. Personal protective equipment
average number of years in business for the dealers surviving after 20 years in US retail was just 27% (20% The majority of the sample (67%), however, were (PPE) for staff and visitors and personal and other
surveyed in 2019 at 23 years and 25 years reported in the arts, 21% in the private sector) versus 38% of open but operating under restrictions, new conditions, sanitation measures were also used by a majority (70%)
in 2018). Only 10% of the respondents in 2020 had the dealers surveyed.14 This indicates greater longevity or safety measures implemented for visitors and staff. of respondents.
been in operation for less than five years. in the dealer sector compared to some other industries.
13 The survey was distributed by various national dealer associations, including CINOA, the ADAA, SLAD, CPGA, FEAGA and others, as well as to Art Basel exhibitors.
These associations and art fairs require vetting and entry criteria and it is therefore more likely that the dealers surveyed had been open and established for
at least one or more years.
14 Industry data is from the US Bureau of Labor Statistics extracted in January 2021. The 10-year data applies to the share of businesses still open in March 2020
that were opened in March 2011, and 20-year is the share of businesses still open in March 2020 that were opened in March 2001.
56
Just over one third of dealers reported reducing their for reasons unrelated to the pandemic, including
opening hours, although 7% extended them to allow temporary closures for renovations, seasonal breaks,
greater social distancing and make up for the reduced and exhibition-related factors, as well as permanent
flow of visitors during any period. Other measures of closures due to changing locations for the gallery.
precaution included temperature checks for staff and Five percent of those that had closed (or 1% of the
visitors, the cancellation of all openings and events, aggregate sample) reported that they had closed
and the use of contact tracing protocols and apps for permanently, citing difficulties meeting overheads
visitors. and the financial implications of the cancellation
of art fairs on their businesses as some of the primary
Of the 13% of dealers who reported that their
reasons for closing. This share of closures is likely
galleries or premises were closed at the time of the
to be conservative relative to the sector in 2020,
survey, 66% were based in Europe and 15% from
as businesses that had closed were less likely
North America. The majority (67%) of those galleries
to receive and respond to the survey. The issues of
that were closed had done so due to government
business closures and the effect of the pandemic
regulations or guidelines, while 15% had chosen to
on employment in the dealer sector is discussed in
remain temporarily closed due to safety or COVID-19
Chapter 7.
related concerns. Of the remainder, 13% were closed
1% of the dealers surveyed had closed

permanently, citing difficulties meeting overheads
and the financial implications of the
cancellation of art fairs as some of the primary
reasons for closing
2.2 | Dealer Sales There were some notable differences between regions. Figure 2.4 | Average Changes in Year-on-Year Turnover by Dealer Turnover Segment 2019–2020
After a relatively stable year in 2019, sales in the dealer In the first half of the year, Asian dealers reported
sector came under significant pressure in 2020. The a higher-than-average decline, being among the first Change in annual sales
sector was uniquely vulnerable to the impact of the businesses to experience the initial lockdowns
Under $250k $250k–$500k $500k–$1m $1m–$5m $5m–$10m Over $10m
COVID-19 crisis as it is primarily based on discretionary brought about by the pandemic in Mainland China 0%
spending and strongly dependent on travel and and surrounding regions. However, they fared
–5%
in-person contact. While many businesses managed to better in the second half of the year, with the average
–10%
maintain sales throughout the year, the value of overall decline reported by Asian respondents for
these sales declined significantly. By mid-year, 83% of the full year of 11% (and a drop of 8% in Greater China –15%
the contemporary and Modern galleries surveyed in versus 55% in the first half of the year). US respondents –20% –19%
July had reported a decline in the value of their sales, also fared better than some other regions, with an –25% –23% –23%
–26%
with an average loss of 36% in value. By the end of average decline of 11%, while dealers in markets within –30% –29%
2020, across all sectors, the dealers surveyed reported Africa dropped 18%. Some of the sharpest reported –31%
–35%
an average year-on-year decline of 23%. annual declines in sales were from dealers in Europe.
As a whole, respondents from the region reported
The poorest performing segments of the market
an average decline of 28%, with those from the UK and © Arts Economics (2021)
for the last four years have been those dealers at the
France reporting a fall in sales of 24% and 32%
lower end, particularly businesses with annual
respectively.
turnover less than $250,000. In 2020, all segments
saw a drop in value, however, some businesses The most significant average annual
with lower turnover reported a less steep decline
year-on-year than those at the higher end of the
declines were reported by dealers with turnover
market. The most significant average annual declines greater than $5 million
were reported by dealers with turnover greater
than $5 million, with those over $10 million showing
the largest overall losses (31%).15
15 As many dealers had significant alterations in turnover during 2020, the segments used to classify the market in Figure 2.4 and throughout the chapter are based
on the dealer’s reported turnover in 2019.
Figure 2.5 | Average Changes in Year-on-Year Turnover by Dealer Sector 2019–2020 Figure 2.6 | Volume of Sales by Price Bracket in 2019 versus 2020
Change in annual sales Share of works sold 2019 2020

Decorative art,
Contemporary antiques, and
Contemporary and others Modern antiquities Older fine art 50% 47%
0% 42% 41%
40% 37%
–10%
30%
–20%
–20%
20%
–30% –28% 12%
–32% 9%
–33% 10%
5% 4%
–40% –39% 2% 1%
0%
–50% Under $5k $5k–$50k $50k–$250k $250k–$1m Over $1m
Dealers working in the contemporary art market

tended to fare better than others, with a decline of
significantly, including a minority of businesses
in nearly all sectors that saw a boost in sales despite
The volume of sales fell in 2020,
20%, versus a 39% average drop in sales for businesses the crisis. with an estimated drop in the median number of
operating in older sectors of the market such as
Old Masters and Impressionism. Dealers in decorative
The volume of dealers’ sales also fell in 2020, with works sold from 55 in 2019 to 34 in 2020
an estimated drop in the median number of works
art, antiques, and antiquities markets also reported
sold from 55 in 2019 to 34 in 2020. It is notable,
a higher-than-average decline of 33%. Dealers
however, that overall, the share of the volume of
operating solely in the Modern art sector experienced
sales in different price brackets was relatively
an aggregate fall in sales values of just less than one
unchanged on 2019, with most works selling for less
third, slightly worse off than their peers who mixed
than $50,000 (82% in 2020) and only 1% for over
contemporary and Modern art (with a 29% loss).
$1 million (versus 2% in 2019).
However, performance within these sectors varied
Figure 2.7 | Dealers’ Outlook on Future Sales in 2021
a. Share of Dealers by Turnover Segment Lower Same Higher b. Share of Dealers by Region Lower Same Higher
100% 100%
80% 80%
54% 55% 53% 55% 55% 54%
60% 60% 61% 60%
65% 65% 64%
60% 60% 81%
40% 40%
19%
21%
27% 18% 27%
25% 33% 37%
30% 30%
26% 26% 27%
20% 20%
24% 27%
21% 15%
15% 18% 18%
10% 13% 10% 10%
9% 9% 9%
4%
0% 0%
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m US UK Greater France Europe Asia South America Africa Oceania
China
When dealers were asked at the end of 2019 about already at risk financially before the crisis began. Looking forward to the year to come in 2021, the Although this shows a much more optimistic
the year ahead, most had been optimistic, with 75% When surveyed mid-year in 2020, contemporary and majority of dealers surveyed expected an improvement picture than the mid-year survey, it indicates that a
predicting stable or better sales in 2020. None could Modern art dealers had a generally pessimistic in sales: significant 42% of dealers still expect sales to be
have anticipated the crisis that was to come. The outlook: 79% of those surveyed thought overall 2020 stagnant or worse in the coming year. Given 2020 was
– 58% expected an improvement in sales in 2021,
COVID-19 pandemic has been a significant economic sales would be lower than 2019 and, of those, 58% felt a relative low point for many businesses, this reveals
including 16% predicting a significant improvement;
challenge to dealers around the world, as it has to they would be significantly lower. This turned out to continuing pressures in some parts of the market.
– 27% expected sales to be about the same as in
millions of small businesses in other industries. be an accurate prediction of the year, as the end-of-year
2020; and
Dealers were particularly vulnerable in this crisis due survey indicated that 74% of dealers experienced a
– 15% expected sales to decrease.
to the nature of their operations, and some were drop in sales (including nearly half of the sample seeing
a decline of one third of their turnover or more).
64
A majority of dealers at all levels of turnover A significant number of dealers in the largest art
expected sales to improve, but the largest businesses, market (the US) also thought sales would not
who had the most significant sales declines in 2020, recover quickly in 2021, with 47% predicting stable or
were the most optimistic about 2021. (65% of dealers declining values. Again, anecdotally, while many
with turnover greater than $10 million expected believed they had managed to get through the year
an increase in sales in 2021.) Those in the ranges from relatively well in consideration of the circumstances,
$500,000 to $1 million and $1 million to $10 million they voiced concerns that sales might continue
were slightly less optimistic. Anecdotally, these dealers to decline due to the cancelling of events and
also reported concerns over the viability of art exhibitions until at least the second half of the year
fairs in their traditional form in 2021 and the effect this or further ahead. Dealers’ concerns about sales
might continue to have on their businesses given at art fairs in 2021 are discussed in more detail in
their reliance on fairs to generate sales, particularly Chapter 4.
to new buyers.
Regionally, some of the lowest levels of optimism

came from dealers in mid-sized European markets,
65% of dealers
including only 35% of German and 47% of Spanish with turnover greater
dealers who were hopeful that sales might increase in
2021. However, UK dealers reported a higher-than- than $10 million
average majority, with 65% expressing optimism expected an increase in
about the year ahead, buoying sentiment in Europe
overall. sales in 2021
A similar pattern was reflected in Asia where
dealers in the largest Chinese market were the most
optimistic in the region. Measured without Greater
China, just under half (46%) of Asian dealers expected
an increase in sales in 2021.
2.3 | Dealer Margins Payroll and rent were noted as a key concern for Figure 2.8 | Share of Total Costs for Dealers in 2019 versus 2020
As sales contracted in 2020, many dealers were keenly dealers, and accounted for around half of their
focused on controlling costs and how to maintain operating costs. Some dealers were able to access Share of costs 2019 2020
viability through reducing their outlays. Even government supports for payroll, rent, and other
in 2019, dealers relayed concerns over the pressure overheads, allowing them to stabilize these costs. 30%
27%
26%
25%
that escalating costs were having on their margins, However, most of this support was available 25% 23%
24%
particularly in relation to art fair participation, only for a limited period and many schemes had
20%
but also business overheads, including increasing been phased out by the end of 2020, leaving some 16%
17%
15% 14%
rents in some key markets such as New York. dealers in precarious financial circumstances.
11%
These rising costs (combined with often variable Some businesses noted that while they and their 10%
7%
sales) had put many businesses under financial peers had survived in 2020, there were concerns 6%
5% 4%
strain. This was often compounded by poor access that more businesses may close in the coming years,
to any external financing. as government support dwindles and economic 0%
Rent and Payroll Art fairs Travel IT Others
conditions remain difficult.16 mortgage
Although the reduction of art fairs resulted in
a substantial financial loss for many dealers, some
noted that by reducing the costs associated
with travel and exhibiting at fairs, they were able to
maintain profitability despite the drop in sales. In
2019, art fair expenses were reported as having been As sales contracted in 2020, many dealers
the largest component of total operating costs for
businesses, accounting for 26% on average – higher
were keenly focused on controlling
than both payroll and rent. These were reduced to just costs and how to maintain viability through
16% in 2020 (and were reported as zero for nearly
30% of the sample). The costs of work-related travel reducing their outlays
also fell from 7% to 4%.
16 The survey of galleries in July 2020 revealed that the most common forms of COVID-19 support that galleries reported accessing were grants, subsidies,
or other emergency funds provided by governments. Income support for employees or the self-employed were widely used as well as rent freezes, reductions,
or deferments. See Arts Economics (2020) The Impact of COVID-19 on the Gallery Sector, available at www.artbasel.com/about/initiatives/the-art-market.
Previous surveys have consistently shown that there – 1% received loans or financial assistance from Figure 2.9 | Debt Ratios in the Dealer Sector
is a lack of credit and lending in the dealer sector. non-governmental organizations such as
Although this means that businesses are often not an art association or non-profit foundation; and a. 2019 b. 2020
burdened with excessive debts (or have low financial – 3% received support from some other type of 51%–70% Over 70% 51%–70% Over 70%
3% 3% 1%
risk), it also means that many are unable to access external funding or lender. 31%–50% 5% 31%–50%
6% 12%
credit, business loans, or facilities such as overdrafts
Dealers were asked how changes in their lending
that would help them through difficult periods. In
may have altered their company’s debt ratio.17
many markets, government loans were made available
The majority of dealers (55%) had maintained a debt
during 2020. However, in practice, some dealers
ratio of less than 10% in 2020, down by just 3%
were reluctant to take on extra debt at a time when 0%–10%
on the share reported in 2019. The number of dealers 55%
revenues were low and uncertain. When asked 11%–30%
11%–30%
with debt of between 31% and 50% did rise to 12% 28% 0%–10% 29%
if they had accessed any loans or external credit for 58%
(versus half that share in 2019), although Figure 2.9b
their business during 2020, just over half of the
still indicates a sector with relatively low leverage
respondents (52%) said they had not. (Most of these
in 2020.18 As a point of comparison, most second-tier
had not tried to access credit or loans, although a
auction houses surveyed in 2020 had a similarly
small share of 4% had tried but were not able to.) The © Arts Economics (2021)
low level of debt, with 77% reporting debt ratios less
majority of dealers that did secure external credit
than 10% and 84% less than 30%, indicating that,
for their businesses took up loans from governments
apart from a minority of businesses, lending and debt
made available due to the pandemic. From those
dealers that accessed lending (48% of respondents):
was relatively low in the art market.19 In most years, 48% of dealers secured external credit
– 68% accessed government lending or other
low lending in the dealer sector is due in part to a
lack of access to credit. However, in 2020, with most
for their businesses in 2020, with
repayable credit; governments extending credit at relatively low 68% accessing government lending or
– 18% accessed loans or credit from a bank or other interest rates, risk aversion and a lack of certainty
private lending institution; about their future sales is likely to have been other repayable credit
– 10% accessed loans or other repayable credit from the biggest deterrent for businesses against taking
personal or private sources; on greater leverage.
17 Debt ratio in this context describes a company’s debt and liabilities versus its assets (sales and stock). It can be interpreted as the proportion of the company’s
assets that are financed by debt and is therefore also an indicator of their financial risk.
18 The debt-to-equity ratio in general retail industries in the US in 2020 averaged 24% (or 32% adjusted for leases) and 39% for special lines of retail (or an adjusted
71%). These ratios are defined differently from those in the survey but are useful for benchmarking. These market debt-to-equity ratios are estimated using the
aggregated value of debt divided by the sum of equity (or market capitalization), and the data was supplied in December 2020 courtesy of Aswath Damodaran,
Stern School of Business at New York University.
19 The survey of second-tier auction houses is discussed in Chapter 3.
Figure 2.10 | Change in (Net) Profitability in 2019 versus 2020
a. Share of Dealers by Turnover Less profitable Same More profitable b. Share of Dealers by Region Less profitable Same More profitable
100% 100%
24% 23% 25%

28% 28% 29% 31% 30%
38% 36% 38%
80% 80% 40% 40%
48%
19%
18% 17% 22% 11% 10%
25%
60% 23% 60%
12% 16% 12%
15% 13%
9%
40% 40%
58% 58% 60%

54% 55% 54%
50% 48% 47% 48% 50% 50%
45% 43%
20% 20%
0% 0%
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m US Asia Greater Europe UK Oceania Africa South America
China (excluding UK)
54% of dealers reported that they were The ability to reduce major operating costs in 2020
(most notably art fairs and travel) allowed some
There was mixed experiences between segments:
dealers with turnover in excess of $10 million (who
less profitable in 2020 than in 2019, dealers to maintain net revenue in the face of declining saw the biggest annual decrease in sales) constituted
sales. While 54% of businesses reported that they the highest share of businesses with declining
18% maintained a stable level of net profit were less profitable in 2020 than in 2019, 18% profits (58%). However, even in this segment, 31% of
and 28% were more profitable maintained a stable level of net profit and a significant respondents reported that they were more profitable
share of 28% reported being more profitable (with than in 2019. The largest share of dealers reporting
7% significantly more so). greater profitability was in the segment of mid-sized
72
dealers with turnover between $250,000 and While some dealers managed to maintain profits in
$500,000. Although still a minority (38%), this is a 2020, some feared that the strategies they had
very positive finding for dealers in this segment, employed to do so were not sustainable and could
who both anecdotally and in previous surveys have affect their businesses in future, as a radical reduction
proved to be under the most significant pressure in their staff or the cessation of external exhibitions
in recent years. and fairs threatened to reduce their access to new
buyers.
‘…The trend we have noticed is that small and
mid-size galleries that are used to operating with lean ‘…By reducing our costs significantly in 2020, we
and efficient structures flourished this year. Large managed to be more profitable. Of course, this was at
and overstaffed galleries took the biggest hit. Emerging the cost of losing more than half our staff…’
artists at lower price points sold well from our gallery
‘ …Our revenue was down significantly but the reduction
and many of our peers…’
in the huge expenses for fairs allowed more net profit.
There were also regional differences. The share of Our gallery has a deep client base that allowed this in
dealers reporting less profits outweighed those 2020, but over time the lack of refreshing that base
with greater profits in all regions, but dealers in the will begin to hurt...’
largest markets of the US, UK, and Greater China
fared best, with relatively smaller numbers showing
deteriorating profit (and Greater China having the
largest share of those improving net profits at 48%).
The most losses, on the other hand, were in South
America and the rest of Europe, where a majority of
dealers saw profits fall, including over 30% seeing
significant declines.
2.4 | Buyers Finding new buyers, whether in different regions to Figure 2.11 | Number of Unique Buyers in 2020
One of the key challenges consistently identified by their business or within different demographic
dealers over recent years has been finding new segments in their existing geographical markets, has a. Share of Respondents by Number of Buyers (All Dealers) b. Average Number of Unique Buyers by Dealer Turnover
buyers. This was even more challenging in 2020, with been a critical challenge reported by dealers in Over 200
5%
online channels being the primary means of recent years. In the absence of art fairs, in-person 101–200 120
10% 106
communication for many businesses for significant exhibitions, and other events, some dealers found it
100
parts of the year. Dealers reported anecdotally difficult to reach new buyers online. Many reported
78
that while they were able to maintain some level of that it was challenging to stand out or get attention 51–100 20 or less
80
sales with their existing client bases (and regular given the large volume of competitive offerings 13% 43%
60 55
clients often buying artists they already knew), it was online, with many presented in very similar formats
38
more difficult to initiate new relationships without that made it difficult to engage new audiences. 40
19
the personal contact and face-to-face conversations, However, some smaller dealers also noted that the 20
viewings, and sharing of expertise that are so increase in online-only outreach had ‘levelled the
0
intrinsic to the sector. playing field’ to some degree, allowing dealers of 21–50 Under $250k– $500k– $1m– Over
29%
all levels to reach potential collectors without some $250k $500k $1m $10m $10m
The size of dealers’ client bases shrank over 2020, with
of the hierarchies often present in offline events.
an average of 55 individual clients, down from 64 in
2019. Although the reasons for the decline were likely When asked what share of their sales went to
to have been varied for each business, it may have different buyer segments, respondents reported:
been due to the difficulty in reaching new buyers or
– 33% went to new buyers that were buying from These shares represent the unweighted averages across market, concerns over being able to find new buyers
strategies focused more on maintaining their
them for the first time in 2020; all dealers regardless of turnover. However, the have been flagged for several years as existing
established clients. The majority of dealers (72%) had
– 37% were buyers they had dealt with for one share of new buyers differed significantly by buyer collectors age out of actively collecting or have begun
50 clients or less, while just 15% had over 100. The
to five years; and turnover level. As has been the case consistently to taper their buying after periods of high activity.
average number of buyers increased in proportion to
– 30% were buyers they had dealt with for more in recent years, new buyers were more important for Their focus has not only been to diversify into new
the level of turnover: dealers with turnover greater
than five years. dealers with lower turnover levels than for those international bases of buyers but also to find new
than $10 million dealt with an average of over
at the highest end. For dealers with turnover of less generations of collectors both locally and overseas.
100 buyers, with some dealing from multinational
than $250,000, new buyers accounted for 45% In the $10 million-plus turnover segment, the share
premises reaching a wide pool of international
of their sales versus 24% for dealers with turnover of of sales to new buyers decreased slightly year-on-
collectors, while those in the segments of annual
more than $10 million. At the higher end of the year (by 2%), as dealers interacted more with buyers
turnover less than $250,000 averaged 19.
Figure 2.12 | Share of Dealer Sales to Buyer Groups by Purchase History in 2020
a. Share of Sales by Turnover Level New in 2020 1 to 5 years Over 5 years a. Share of Sales by Sector New in 2020 1 to 5 years Over 5 years
50% 50%
45%
43%
40% 41% 40%
39% 40%
40% 37% 37% 40% 36%
38% 37%
35% 34% 34%
32% 33% 32% 33%
31% 30% 30% 31% 30%
29%
30% 30% 26%
23% 24% 24%
20% 16%
20%
10% 10%
0% 0%
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m Contemporary Contemporary Modern Older fine art Antiques, decorative
and others art, and antiquties
they already knew. While this indicates that smaller

dealers were effective at reaching new buyers,
The share of buyers was not influenced a great deal
by the longevity of the business. The share of sales to
decorative art, and antiquities segment reported
a 6% increase in sales to new buyers to 37%, its
For dealers with turnover of
which is potentially beneficial for their future sales as new buyers for those in business less than five years second year of increasing share, and potentially a less than $250,000, new
they seek to expand their businesses, the importance was 34% versus 32% for those operating for more positive development in this sector. This is also
of converting new buyers into repeat purchasers than 20 years. There were some differences according backed up by findings in the high net worth (HNW) buyers accounted for 45% of
and ultimately keeping longer-term collectors is still to sector, with new buyers accounting for the largest collector research in Chapter 6, which shows some sales versus 24% for those
the critical objective of businesses. The fact that share of sales for contemporary dealers at 34% (down evidence of cross-collecting in different sectors
smaller dealers continually make a higher share of 4% year-on-year). The lowest share of sales to new by younger collectors, including decorative art and with turnover of more than
sales to new buyers is therefore not always an
indicator of success in this segment, but may be due
buyers was for dealers operating only in older fine art
sectors such as the Old Masters, where their share
antiques, which may have traditionally been more
associated with an older demographic.
$10 million
to the necessity to do so if repeat purchasing is low. dropped 11% year-on-year to 26%. The antiques,
Figure 2.13 | Share of Dealer Sales by Buyer Type Sales to other members of the art trade were slightly 2.5 | Artist Representation what was perceived to be a poor and uncertain
in 2020 lower year-on-year (down 2%), and these were Excluding dealers of antiques and decorative arts, the market. Dealers of fine art operating solely in the
most important to dealers in older sectors focused on fine art dealers surveyed in 2020 included: secondary market reported one of the largest
Other art market professionals the secondary market, with a share of 14% for those declines in sales of all sectors (a 39% drop year-on-
Private institutions 4% – Dealers working in the primary market, dealing
5% working in Modern art, 9% in other older fine art year). Dealers working solely in the primary market
Local/national in the work of living artists brought to the first time
museums 6% sectors, and 8% in antiques and decorative arts (versus tended to fare slightly better (with an average
market (57% of fine art dealers surveyed);
International just 2% for contemporary dealers). decline of 19%), while those operating in both the
museums 4% – Dealers operating only in the secondary or resale
Interior designers primary and secondary market reported a 26%
2% Sales to corporations and private institutions market (5%); and
Art advisors
fall in sales on average.
7%
were a stable share of 5%, as was the total share of – Dealers working in both the primary and secondary
sales to museums, at 10%, but with an increase in markets (38%). Even within the primary market, however, different
sales to local over international museums. While the segments struggled more than others. Those at
Primary market dealers work with a wide range of
Private collectors share of museum sales was highest for Modern art the higher end noted anecdotally that not being able
72% artists at different stages of their careers, including
dealers in 2019 at 14%, this fell to just 6% in 2020 to ‘get eyes in front of new works’ was a major
those only starting out, and therefore, primary market
and contemporary dealers had the highest share of struggle of 2020, and that casual or spontaneous
prices can be lower and more volatile, leading to
museum sales (10%, stable on 2019). discovery and purchasing was very low without art
© Arts Economics (2021) a wide range in turnover in this segment. In 2020, the
fairs and other live exhibitions and events. Primary
A significant issue for the sector in 2020 in relation average turnover for primary market galleries was
market dealers operating at the higher end (with
to buyers and the information dealers are required to just under $1.4 million versus over twice that level for
turnover greater than $10 million) had a significantly
Despite the ongoing disruptions to sales in 2020, collect from them was the introduction of various those working in the secondary market ($3.1 million),
larger decline in sales of 29% than those at the
dealers still tended to sell to the same types of clients. requirements and regulations under the 5th EU and highest of all for those working across both
lower value end (with a 15% decline for those with
Sales to private collectors dominated in 2020 as they Anti-Money Laundering Directive. While some dealers markets ($4.4 million).
turnover less than $250,000), where online sales
have in previous years, with their share increasing noted that they were already collecting much of the
While the business models of the dealers working may have been more common.
for a second consecutive year (by 2%) to 72%. A further required information, during 2020, many expressed
in these segments of the market differ, they all faced
9% of sales were made to interior designers and concerns about the added burden of time and money Another issue for some dealers in the primary market
challenges in 2020. Some dealers operating in
art advisors (both of whom predominantly worked required to meet the formal information-gathering was the challenge of financially supporting their
the secondary market noted that sourcing works was
for private clients), which means that in reality, requirements. (Exhibit 2 in Chapter 1 discusses some emerging artists in 2020, particularly trying to promote
considerably more difficult than selling during the
close to 81% of the value of sales made by dealers of the main issues regarding these regulations in the work of some artists in the early stages of their
year, particularly in light of strong competition with
were to or on behalf of private individuals.20 more detail.) careers. This can mean significant outlays for galleries
auction houses to entice vendors to make sales in
that proved difficult in 2020 in the face of low or
20 As noted in previous years, this may understate the significance of advisors, as some collectors work with advisors prior to a sale, researching the market and
sourcing works from galleries before making a final purchase from a dealer.
Figure 2.14 | Number of Artists Represented by Dealers in 2020
a. Number of Artists Represented by Primary Market Dealers b. Number of Artists Represented by Primary and Secondary Market Dealers Primary market Secondary market
50 50
40
40 40
12
30 26
30
13
22 15
21 9
19 8
20 20
26
10 10 18
21
18 18
0 0
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
uncertain sales, particularly when some collectors Although not capturing the entry and exit of For those businesses operating in both the primary market has become somewhat thinner and less
were more focused on artists they were already artists from gallery rosters, the average number of and secondary markets, the number of artists varied, focusing on a narrower range of artists. Also,
familiar with or had bought before. Dealers also artists represented by primary market galleries was represented was higher at 31 (down from 34 in 2019), anecdotally, dealers in this segment noted that
voiced concerns about the effects of the crisis relatively stable, increasing slightly from 18 in 2019 with an average of 61% primary market artists and sourcing supply was very challenging in 2020 and the
on emerging artists as they saw a narrowing of the to 20 in 2020. Although the number of artists a gallery 39% in the secondary market. In this market, sales were competition for vendors was high, with general
collecting focus in some parts of the market, represents is not necessarily proportional to sales slightly less correlated to the number of artists, reluctance to sell in many parts of the market. For
alongside closures and downsizing of some smaller or profitability, there was a tendency for dealers with although those dealers at the highest end represented these dealers, as in other years, the positive link
galleries. The closure of galleries during the year more artists to have larger sales. For those dealing the most artists on average, at 38. between turnover and number of artists did not exist
has meant that artists have had to find new only in the primary market with less than $250,000 in the same way. Dealers with turnover less than
Dealers working exclusively in the secondary market
representation, and while this is relatively easier in annual sales, the average number of artists $250,000 represented more artists than dealers in
dealt in or sold the work of 20 artists, down 38% on
for established artists, others have struggled with represented was 19 versus 40 for those with turnover any other segment up to $10 million.
2019 (from 32 artists), potentially indicating that this
the loss of gallery sales. over $10 million.
2.6 | Artist Representation by Career Stage – 35% emerging artists (up 4% on 2019); Figure 2.15 | Share of Artists Represented by Primary Market Dealers in 2020
There was considerable interest in 2020 in how the – 40% mid-career artists (down 4% year-on-year); and
COVID-19 crisis and its economic fallout and resultant – 25% established artists (stable). Share of artists Emerging Mid-career Established
changes in business practices might affect the divide
Dealers operating in both the primary and secondary 100%
in performance between small and mid-sized dealers
markets had a lower representation of emerging 17%
versus those at the higher end. Over the last few 23% 20%
artists in their primary market programs, and a higher 29%
years, surveys of the sector have indicated that the 80%
share of established artists:22
growth in sales has tended to be driven by dealers at 54%
35%
the higher end, while smaller and mid-sized dealers – 22% emerging artists (down 3% on 2019);
60% 38%
39%
have experienced mixed results. Following from this, – 39% mid-career artists (also down 4%); and
42%
it was often seen that not only were larger dealers – 39% established artists (up 8%).
more financially viable to start with than their smaller 40%
Combining all dealers working in the primary market, 28%
peers, but also that their tendency to represent more
only 10% solely represented emerging artists, while 48%
established artists might help them to maintain sales 20% 39% 41%
14% of the sample had no emerging artists. Although 29%
while smaller dealers with more emerging artists
31% did not represent any established artists, there 18%
might struggle more, particularly without platforms
was only a very small share of dealers exclusively 0%
such as fairs through which to promote new work. Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
focused on this top end (3% represented established
The breadth of the programs pursued by dealers at artists only). As noted in previous reports, top-tier
different levels has been tracked for the last few galleries are often presented as only dealing © Arts Economics (2021)
years. Dealers in the primary market were asked to exclusively with established artists, while smaller
estimate how the artists they represented were galleries support emerging ones and therefore, often
broken down into the categories of ‘emerging’, bear the costs of supporting and developing new level of annual turnover shows that galleries at Larger dealers operating in the primary market do
‘mid-career’, and ‘established’ artists, as well as the artists early in their careers. A further issue that has all levels appear to have a fairly diversified range of tend to have narrower programs, though, that are
estates of deceased artists.21 Excluding estates arisen in this debate over the last decade is the artists included in their programs, and overall, based on a majority of established artists (54%) and a
and focusing only on living artists, dealers operating problem of smaller galleries losing artists to top-tier the most common model in the sector continues to relatively smaller portion of emerging artists (18%)
exclusively in the primary market represented: galleries once they become established, without be working with a mix of artists at varying stages, versus smaller dealers. These bigger dealers also
contracts or other means to maintain their represen- although the definitions of artists’ stages were also showed a higher representation of established artists
tation. However, analyzing representation by the likely to differ significantly between dealers.23 than in 2019 (and less emerging artists).24
21 On average, dealers working in the primary market represented one artist’s estate, but this was not evenly distributed. A small number of dealers looked after 23 It is important to note the level of establishment (which is self-ascribed in this survey by the respondent) does not necessarily indicate the level of commercial
numerous estates, and 70% of the sample did not represent any estates in 2020. success or price tier of the artist, and the established artists represented by the top-tier dealers in the survey are likely to be very different from those indicated
22 Dealers in this sector had represented more deceased artists’ estates, accounting for 14% of the artists on their primary market program on average, although again as established by smaller dealers. Similarly, emerging artists are likely to be defined in a different manner by a very large and commercially successful dealer
unevenly distributed. Just under half (48%) of the dealers responding from this segment did not represent any estates. versus a much smaller one. However, the results still show that most dealers maintain a program that mixes artists at different stages of their careers.
24 This was particularly notable for dealers working solely in the primary market with turnover greater than $10 million, which showed a representation of 67%
established artists in 2020 versus 35% in 2019. Their share of emerging artists dropped from 13% to 8%.
Figure 2.16 | Change in Sales 2019 to 2020 by Share of Artists (Primary Market Dealers) While this may be due to a number of factors, it Then again, having a very high share of established
could indicate greater risk aversion in the uncertainty artists was associated with poorer performance
a. Average Change in Sales by Share of Emerging Artists b. Average Change in Sales by Share of Established Artists that prevailed during 2020 and an increased focus on in 2020. Galleries with more than half of their artists
artists they believed might have more secure returns. classed as established artists had an aggregate
0%–25% 26%–50% 51%–75% 76%–100% 0%–25% 26%–50% 51%–75% 76%–100% Dealers in all other segments, on the other hand, decline of 21% whereas those with half or less did
0% 0%
all showed an opposite shift, increasing their share of slightly better (17%). Galleries that only represented
emerging artists, possibly in an effort to create new established artists had the worst performance of
–10% –9% –10% sales opportunities at more moderate price points. all (40% decline).26 Although there are many reasons
for the differences in performance, these results
–15% –15% Dealers and collectors noted concerns that the
–17% indicate that having a roster of established artists
–20% –20% COVID-19 pandemic could intensify the industry’s
–21%
–20% –20% certainly did not guarantee better performance
polarized nature if it accelerated the decline of
in 2020. These results correspond with anecdotal
smaller and mid-sized galleries as risk-averse buyers
–30% –30% –29% accounts from dealers who noted that although some
focused more on established artists. To assess if the
collectors were mainly sticking to artists they were
content of gallery programs had an effect on their
familiar with for larger purchases, those buying at the
performance, the change in sales from 2019 to 2020
© Arts Economics (2021) high end were much more selective and only willing
was assessed according to a dealer’s mix of artists.
to spend large amounts for very specific works, rather
Figure 2.16 sets out the results according to the share
than there being ample demand for any works by
of emerging and established artists for those dealers
Larger dealers showed a higher representation operating in the primary market only. While there are
popular artists. Sales of emerging artists at lower price
points, on the other hand, performed relatively
of established artists in 2020, which could many factors that affected sales, this analysis shows
that having a very high share of emerging artists was
well for some galleries.
indicate greater risk aversion in the uncertainty that associated with better performance, and some of
the lowest losses for the year were for dealers with 75%
prevailed during the year or more that saw the lowest decline of 9%. Galleries
where more than half of the artists represented were
emerging artists saw a decline in sales of 13%, whereas
those with less than half declined by 19%.25
25 These findings were also paralleled when combined with dealers working across both primary and secondary markets: those dealers with over 50% emerging
artists in their primary market programs saw an aggregate decline in sales of 14% versus a decline of 21% for those with less.
26 These results were again consistent when considering the larger sample combining primary market dealers with those also working in the secondary market,
with the best performance for those dealers with no established artists (16% loss) and the worst for all established artists (28% loss).
Figure 2.17 | Share of Female versus Male Artists by Dealer Turnover Figure 2.18 | Share of Female Primary Market Artists Represented by Dealers 2018-2020
Share of artists Female Male Share of artists Primary market only dealers Primary and secondary market dealers
100% 50%
44%
41%
39%
80% 40% 36%
35%
63% 60% 61% 65% 32%
66% 67%
60% 30%
40% 20%
20% 37% 40%

34% 39% 35% 33%
10%
0% 0%
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m 2020 2019 2018
2.7 | Artists’ Gender and Representation tendency for there to be less female artists at the of female secondary market artists in 2020 was just market dealers rose by 8% from 2018 to 2019 (to
Gender disparities in the art market continued to be top end of the market, a finding that is also paralleled 24%, stable on 2019. 44%), but decreased to 41% in 2020. For those dealers
a focus of this research in 2020, and changes towards in the auction sector and in exhibitions. working in both markets, the share of female primary
Gender disparities still persist, however, even when
increasing equity in sales and representation have market artists was lower, similarly reversing some of
However, this share includes dealers operating in excluding deceased artists and resales and considering
been slow to materialize, with the statistics of recent the progress to greater parity made in 2019 and
the secondary market, including older sectors where only those dealers working exclusively in the primary
years confirming a lack of gender parity in the dealer dropping 4% in share to 35%. Combining all dealers
there is a much lower supply of female artists due, market. Despite the fact that this and other research
sector and elsewhere in the art market. Across working in the primary market, whether exclusively
in part, to historical factors that prevented women has shown that the majority of graduates from
all respondents in all sectors, the representation of or otherwise, the share of female artists represented
from participating in artistic professions for the most the world’s top art schools are female, the share of
female artists by dealers was stable at 37%. Larger in 2020 was 39%, down from 41% in 2019.
part until into the 1900s. For dealers operating female artists represented by dealers is still a minority.
dealers tended to represent fewer female artists than
in the secondary market, whether exclusively or in The share of female artists represented by primary
their smaller peers, and this is connected to the
combination with the primary market, their share
Figure 2.19 | Share of Female Artists Represented by Dealers in 2020 Figure 2.20 | Change in Sales 2019–2020 by Share of Female Artists Represented
Share of artists Emerging Mid-career Established Change in annual sales All dealers/all artists Primary market only dealers
60% No female artists 0%–25% 26%–50% 51%–75% 76%–100% All female artists
0%
50% 48% 47% 48% –1%
42%
40%
–5%
40% 35%
37%
33% –10%
29%
30% –12%
–11%
–15% –13%
–14% –14%
–15%
20% –17%
–20% –19%
10%
–25% –23% –23%
0%
Primary market Primary and secondary All dealers –30% –28%
only dealers market dealers
The survey data for the past few years has revealed
that dealers also tended to have a higher share of
For galleries in the An assessment was also made of whether having
a smaller or greater share of female artists affected
in these trends and it is not necessarily possible to
infer any causal relationship, they do indicate
emerging female artists, and that share declines as primary market, sales performance in 2020. Considering all dealers, that having women in gallery programs was one of
the level of artist establishment increases. This regardless of their sector, those with the lowest share potentially a few factors that helped galleries do
was again evident in the dealer sector in 2020 as the the higher the share of of female artists tended to have the largest declines better during 2020.
share of female artists dropped from just under female artists, in sales year-on-year. Considering only those galleries
half (48%) when considering emerging artists only operating in the primary market, performance was
to one third of established artists. The smaller share the lower the decline positively related with the representation of female
of female established artists is again one of the key
factors driving down representation by larger dealers.
in sales artists: the higher the share, the lower the decline
in sales. Although there are many inter-related factors
2.8 | Outlook for the Dealer Sector of the support they received relative to other dealers Figure 2.21 | Perceptions of Level of Support Received by Dealers versus their National Peers
2020 was a very challenging year for galleries and in their country or region, the majority (58%) felt
dealers at all levels worldwide. As sales declined they had received an average level of support, with Share of respondents Below average About average Above average
and outreach to buyers and supply was restricted, only 10% perceiving that it had been below average.
many dealers were focused on ways to ensure It is notable that Figure 2.21 excludes a significant 100%
the survival of their businesses in the short term. share of dealers (28%) who reported that they could 25% 22%
32% 35% 35%
However, the fallout from the pandemic and the not assess how they fared, indicating a considerable 80%
50%
changes in business operations it has brought about lack of awareness in the sector of where businesses
has also allowed, and necessitated, some businesses stood in relation to their local peers with regard to
60%
time to reflect on their strategies, with resulting COVID-19 support. Smaller dealers were more
shifts in their current and future priorities. uncertain on this question of local support (with over 61%
63%
one third of respondents unable to assess the question 40% 58%
56% 58%
How some dealers managed during this crisis was
in the segments of turnover up to $500,000),
critically dependent on where they were located – not 50%
potentially indicating that they had less access to 20%
just regarding the severity of the crisis and how long
information about peer or larger dealers, or about
shutdowns extended, but also in terms of what level 17%
the environment of available supports and how 10% 9% 7%
12%
of support was made available to them. When dealers 0%
accessible they were. All respondents Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
were asked how they believed they fared in terms
58% of dealers felt they had received

an average level of support during the COVID-19
crisis in 2020 compared to their
national peers, with only 10% perceiving that
it had been below average
Figure 2.22 | Perceptions of Level of Support Received by Dealers versus Same Size Global Peers
a. Share of Respondents by Turnover Below average About average Above average b. Share of Respondents by Region Below average About average Above average
100% 100%
6% 8%
15% 12% 13% 15% 14% 14%
16% 19% 16% 18%
21% 21% 22%
80% 80%
28%
50%
43% 32%
60% 51% 39% 57% 60% 62% 48%
54% 61% 50%
57%
63% 73%
40% 40%
58%
50%
44% 43%
20% 40% 20% 37%
34% 31% 31%
30% 26% 30%
22%
15% 11%
0% 0%
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m US Europe UK France Asia Greater Oceania Africa South
China America
While most dealers felt that access to support locally

had been fair, there was more inequity perceived
below-average support versus only 26% for those
with turnover in excess of $10 million. There were also
Small dealers felt they fared worse than
in the global context. When asked how much support differences between regions, with the majority of their global peers, with 44% of those
they felt they had received compared to global peers dealers in larger markets such as the UK, the US, and
of similar size in the same sector, about half of the Greater China reporting receiving an average level of with turnover between $250,000 and $500,000
dealers responding felt it was average but 34% thought support relative to international peers, and a relatively reporting below-average support
it was lower than average. When comparing their low share feeling worse off. However, a majority of
situation globally, more small dealers felt they fared businesses in Africa and South America felt they had
worse than their global peers, with 44% of those with received less (a finding also possibly associated
turnover between $250,000 and $500,000 reporting with a larger share of smaller dealers in these regions).
Figure 2.23 | Dealers’ Perceptions of Performance in 2020
a. Share of Dealers’ Views on their Business’ Performance Poorly About average Good b. Share of Dealers’ Views on Performance in their Sector Poorly About average Good
100% 100%
7% 6%
11% 11% 12%
15%
33%
80% 40% 40% 37% 80%
48% 39%
51% 29%
43%
39%
43% 48%
60% 60%
41%
37% 41%
40% 40% 40%
35% 44% 60%
54%
50% 51%
20% 20% 42% 40%
26% 23%
20% 22%
14%
8%
0% 0%
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
Considering the COVID-19 pandemic and other consider themselves doing well (33%) and a higher It is notable also that many dealers tended to feel pessimistic about their peers. This was corroborated
challenges that they may have faced in 2020, dealers share felt they were doing poorly than other segments that they had fared better than their peers. Figure in interviews in the sector, with some dealers
were asked how they considered their gallery was (26%). Dealers with turnover above $1 million were 2.23b shows a much higher share of dealers reporting noting what a difficult year it had been for the art
faring overall. Despite the difficulties they encountered, more likely to report doing well, including 48% in the poor performance when asked how their peers market generally, but reporting that in the face
most dealers thought they were doing well or about segment above $10 million. While the answers given had fared during the year. Around half of the dealers of the challenges, they had done better than they
average, with a minority of 20% reporting faring were influenced by varying individual expectations of surveyed thought peers in their sector had fared expected or better than they predicted some
poorly. It is notable that despite sales performing best the year, overall, it does imply that despite the fall in poorly and only 11% thought they had done well, a of their colleagues had.
on aggregate in the segment of turnover below sales and all of the challenges presented in 2020, quite significant departure from the reporting on their own
$250,000, dealers in this segment were less likely to a few dealers believe that they pulled through well. performance. The smallest dealers were the most
Figure 2.24 | Dealers’ Outlook for Sales in 2021 The fallout from the pandemic and the changes in highly for most dealers. This was born out in the survey
business operations it has brought about has also as the rapidly evolving area of online sales was
Dealers’ own sales Sales by peers in dealer sector Dealer sales their in region allowed some dealers time to reflect on and change maintained as a top priority for the future, the second
the priorities of their businesses. Dealers reported highest for dealers in the coming years, and consistent
60% 58%
that their top three priorities in 2019 were their art across most regions and gallery sizes. Art fairs also
50% fair exhibitions, maintaining relationships with came back into focus for dealers, rated as their third
38%
41% 41% their existing clients, and widening the geographical highest priority overall for the next two years. (Art
40%
32% reach of their client base. However, these changed fairs and dealers’ views on their outlook are discussed
30% 27% 27% markedly over 2020, with the key priority for the further in Chapter 4.)
21%
20% majority of businesses shifting from trying to reach
15%
new, more geographically diverse buyers to ensuring
10%
that they maintained relationships with existing While many dealers
0%
Increase Same Decrease
clients who are seen to be critical to their survival.
As businesses were closed and travel restricted, the
noted their keenness to
focus also turned away from art fairs and towards return to connecting
trying to boost online sales and exhibitions, as well as
with clients and artists
finding ways to cut costs to maintain profitability.
Dealers were more optimistic about the future and in July, 45% of the sample expected an improvement
Looking ahead one to two years, while widening their offline post-crisis,
their prospects for sales in 2021. Just over half (58%) for their own business next year, but only a third
client base shifts up in priority for some, the main
focus remains preserving relationships with current
most believed that their
of respondents felt that their sales would increase in expected improvement in the business of peer
2021 and only 15% thought they would decline galleries; in this end-of-year survey, while over half
clients. While many dealers noted anecdotally their online strategies would
keenness to return to connecting with clients
further, a significantly more optimistic outlook than thought they would improve, just 38% predicted
and artists offline post-crisis, most believed that their continue to evolve
the results of the mid-year survey of contemporary an increase in sales for peer businesses and 41% for
online strategies would continue to evolve, with
and Modern dealers in July. Just as they were more dealers in their region. This was a strong and
some citing 2020 as a more permanent turning point
positive about their own performance during the consistent feature regardless of the size of the gallery
for them in this area. It is notable also that although
year, dealers also tended to be more optimistic about or its location. This may be due to a greater sense
online strategies are a top priority, the focus is
their own business’ prospects versus other peer of awareness and control over personal outcomes,
on using these to generate sales, while incorporating
galleries of the same size and in the same sector, or but also provides an indication of self-efficacy
new technologies such as augmented reality (AR),
peer galleries of any size in their same location or and optimism that may benefit businesses in the
virtual reality (VR), and other tools does not rate as
region. This is also a consistent finding across surveys: long run.
Figure 2.25 | Top Business Priorities for Dealers in 2019 and 2020
a. Share of Dealers’ Priorities in 2019 c. Share of Dealers’ Priorities for Next 1-2 Years
Art fairs 69% Relationships with existing collectors 67%
Relationships with existing collectors 63% Online sales/exhibitions 47%
Widening the geographical reach 32% Art fairs 43%
Current artist exhibitions 28% Widening the geographical reach 38%
Finding new artists 20% Finding new artists 24%
Online sales/exhibitions 17% Reducing costs/boosting profitability 24%
Reducing costs/boosting profitability 12% Current artist exhibitions 19%
Racial diversity of artists 3% Sustainability/carbon footprint 8%
Gender diversity of artists 3% Racial diversity of artists 6%
Sustainability/carbon footprint 2% Gender diversity of artists 6%
New technologies 1% New technologies 6%
b. Share of Dealers’ Priorities in 2020

0% 10% 20% 30% 40% 50% 60% 70% 80%
Relationships with existing collectors 70%
Online sales/exhibitions 54% © Arts Economics (2021)
Reducing costs/boosting profitability 31%
Widening the geographical reach 26%
Finding new artists 24%
Art fairs 24%
Current artist exhibitions 19%
New technologies 7%
Gender diversity of artists 4%
Racial diversity of artists 4%
Sustainability/carbon footprint 3%
0% 10% 20% 30% 40% 50% 60% 70% 80%

Auction Sales
102 3 |Market
1 | The Global Art Auction
inSales
2019 103
Key Findings
Auction Sales 1. Public auction sales of fine and decorative art and 5. In 2020, the largest sector in the fine art public auction
antiques (excluding auction house private sales) market was Post-War and Contemporary art (55%),
were $17.6 billion in 2020, a decline of 30% from 2019. which along with Modern art accounted for just over
81% of the value of sales at fine art auctions.
2. Private sales were conservatively estimated to have
reached over $3.2 billion in 2020 (up 36% on 2019). 6. Sales of Post-War and Contemporary art totaled
Total sales conducted by auction companies, including $4.7 billion, a decline of 23% year-on-year. 27% of the
both public and private, were estimated to have works by value sold in the Post-War and Contemporary
reached $20.8 billion. sector were created in the last 20 years.
3. The three largest auction market hubs of Greater 7. After losing almost a third of their value in 2019,
China, the US, and the UK retained a combined share of sales of Modern art fell another 23% in 2020 to reach
81% of public auction sales by value. Greater China $2.2 billion.
overtook the US to become the largest market, with a
share of 36%. The US accounted for 29% and the UK 16%. 8. The Impressionist and Post-Impressionist sector,
the dominant category 30 years ago, showed the largest
4. Sales over $1 million made up the majority (58%) decline in value year-on-year, with sales down over
of the value of offline fine art public auction sales, 50%. Old Masters saw a more moderate decline of 10%
whereas they accounted for just 6% of total online-only year-on-year.
values. The majority of value (67%) in the online-only
market was accounted for by sales between $5,000 and
$250,000.
104 3 | Auction Sales 105
3.1 | Auction Sales in 2020 Vendors did switch, to some extent, to selling Figure 3.1 | Global Public Auction Sales 2011–2020
Sales at public auction of fine and decorative art and privately through auction houses, which led to a
antiques (excluding auction house private sales) substantial increase in the share of private sales, Billion $
reached $17.6 billion in 2020, a decline of 30% from particularly in the two largest auction houses.
$25.2 billion in 2019. After two years of positive Private sales are generally perceived as a lower risk $35
$32.4 $32.7
growth from 2016 to 2018, this was the second year of channel in declining markets, as prices and failures $29.9 $29.9 $29.3
$30 $28.4
declining aggregate values, bringing the market to to sell are not in the public domain. But, again, $27.6
$25.2
its lowest level in a decade. The disruption of the global much of the increase in private sales was also due to $25
$22.5
pandemic alongside political and regulatory issues the diversion of these sales from public auction as
in the key markets of the US, China, and the UK all had live sales were postponed or reduced. Private sales $20
$17.6
a negative impact on supply in 2020. Some vendors were conservatively estimated to have reached over
$15
were reluctant to sell during 2020, with the perception $3.2 billion in 2020 (up 36% on 2019), with $2.8 billion
of it not being an optimal time to bring works to reported by the largest auction houses of Sotheby’s $10
market despite demand and willing buyers in some and Christie’s. Total sales conducted by auction
areas. Much of the decline was also due to reduced companies, including both public and private sales, $5
opportunities to sell as lockdown rules and other were therefore estimated to have reached $20.8
$0
restrictions radically altered the frequency and format billion in 2020. 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
of auctions.
The COVID-19 pandemic forced many auction
businesses to suspend live auctions for much of the © Arts Economics (2021) with data from Artory, AMMA, and other sources. Excludes private sales by auction houses.
Sales at public auction year, and online-only auctions and other new formats
took a more central role for many businesses. The
of fine and decorative art move to digital channels was already well underway concentration of sales in the last quarter of the year, however, the highest prices were still achieved in
before 2020, with the auction sector generally seen as the typical auction calendar, where sales by the more traditional or hybrid formats that combined
and antiques reached having made significantly more progress on this front major houses are focused on one city, in one segment online sales with live-streamed events.
$17.6 billion, a decline of in recent years versus dealers. With restricted capacity, of the market, over a key auction week, was also
Despite the crisis, many works still sold for multi-
some of the major auction houses experimented interrupted by COVID-19 restrictions.
30% from 2019 with new formats, with live-streamed auctions a key
The ceiling for online auctions was raised over the
million dollar prices in different sectors, including the
$84.6 million paid for Francis Bacon’s Triptych
to recreating some of the excitement of live evening
year, including several works selling for over $1 million, Inspired by the Oresteia of Aeschylus (1981) at Sotheby’s
marquee sales. Although there was still a significant
in New York, and $76.6 million for Wu Bin’s Ten Views

of Lingbi Rock (1610) at Poly Auction. While the decline
The three largest However, there was a significant change in distribution
of public auction sales between these markets, with
Figure 3.2 | Public Auction Market Global
Share by Value in 2020
in the auction market was due in part to a lower auction hubs of Greater Greater China overtaking the US to become the largest
volume of these high-priced lots coming up for sale, global market with a share of 36% of sales by value, up
the contraction in sales was felt throughout the China, the US, and 7% year-on-year. Sales in Greater China fell by 11% to
Austria 1%
Switzerland 3%
Germany 3%
Rest of world 5%
auction sector, with a reduction in volumes and values the UK maintained their $6.3 billion, however, this decline was significantly less France 7%
across all of the different value segments and in most than the other leading markets. Greater China 36%
regions. Many in the sector noted that although dominant position, The US lost its number one ranking, falling 6% in share
masterpieces sold well, bidding was often very thin,
with far fewer buyers competing for works.
with 81% of global sales year-on-year to 29%. Sales in the US were estimated UK 16%
to have fallen 44% to just over $5 billion, its second
Looking back to the market’s previous recession, by value year of declining sales, and bringing values to less than
auction sales declined significantly in the fallout from half their peak in 2018 (at $11.8 billion). Sales in the
the global financial crisis, with the sector losing 44% the market was much more marked than other UK also declined by one third in value to $2.8 billion,
US 29%
of its value from 2007 to 2009 and reaching a low of segments, the recession of the market in 2020 was remaining in third position globally, with a global
$18.3 billion. However, sales recovered rapidly in 2010, somewhat atypical: sales in the ultra-high end share of 16% by value (down 2% year-on-year). After © Arts Economics (2021) with data from Artory, AMMA, and other sources.
aided by a booming auction market in China and segment above $10 million diminished, but this fall being one of the best performing markets in 2019, Excludes private sales by auction houses.
recovery in the US, and after some variation in sales was not more marked than that of other price auction sales in France also fell by 35%.
year-to-year, reached a peak of $32.7 billion by 2014. segments. Instead, sales fell fairly consistently across
Fewer lots also sold at auction in 2020. Focusing Greater China’s lead in the auction market in 2020
the board as the number of live auctions diminished
After some volatility, sales cooled again in 2019, only on fine art auctions, the number of lots sold marked an interesting departure for auction sales in
and businesses were forced to close for periods of the
with falling values in all of the major markets as the declined 24% year-on-year, the second year of this region. While the markets of Greater China have
year. The segment of works selling for just under
volume of top-priced lots fell. In 2020, the decline decreasing volumes.27 The US had the largest share consistently accounted for a large or majority share in
the top tier or what some experts classified as ‘b works’
continued, with the volumes and values diminishing of global fine art auction sales by volume (23%), the market for middle- and lower priced works at
experienced the largest decline of the year, (with the
in all major auction markets. As live sales were with Greater China the second largest (15%), while auction, the US has consistently led in most years at
segment of works selling at prices between $5 million
restricted due to the COVID-19 pandemic, many the UK accounted for 12%. Although these three the very highest end. However, in 2020, sales by
and $10 falling in value by 34%).
auction houses pivoted to more online-only sales, largest markets accounted for about half of the value were larger at this high end in China, with several
which, besides a few notable exceptions, were The three largest auction market hubs of Greater China, transactions that occurred, volumes were much less multimillion dollar lots sold in Hong Kong and Beijing
still predominantly focused on lots priced at below the US, and the UK maintained their dominant concentrated than sales values. throughout the year.
$1 million. Whereas in previous recessions such as position in 2020, with a combined share of 81% of
2009, the decline in value at the very highest end of global sales by value, down 3% year-on-year.
27 Changes in the volume of aggregate auction sales are often less conclusive indicators of market performance than trends in values, with many auction houses
selling large volumes of decorative art and collectibles that can vary widely over time as well as between different sale types and regions over time. To compare
the lots sold across countries on a consistent basis, fine art auctions offer a clearer benchmark.
While the Chinese market has traditionally been of Poly Auction and China Guardian, the introduction Despite its relatively better performance than some actual auction businesses, it also means that the sales
based on a considerably higher share of value in the of the newly launched auction house, Yongle other regional markets in 2020, the auction sector figures quoted for Greater China include a significant
decorative arts sectors, most of these top lots were Auctions, also helped to boost sales in Mainland in China is still subject to a number of issues. Although and variable portion of works where payments are
fine art, which led to an increase in its share of sales China, accounting for four of the top 10 lots there were much fewer lots sold at auction in 2020, still outstanding. Experts in the sector have also pointed
from 59% to 68%. While sales in the sector of old during the year from just one sale in December. there was still very high buy-in rates, with 49% of out that it has implications for the ranking of auction
ceramics and other wares declined in value by 31%, the Despite its short history of sales, the company the works offered not selling. Although this was down houses in China, citing the example that in terms
contemporary and oil painting sector was one of the became the third largest auction house in Mainland by 6% year-on-year, buy-ins remained persistently of corporation taxes paid and commissions received
few that went against the declining trend, with a China with sales of a reported $477 million, high, particularly in older sectors of the market and in in recent years (that are based on fully paid sales
moderate increase year-on-year of 5% (to $1.4 billion).28 surpassing Huyai International, the fourth largest Mainland China (which had a higher rate of 49% only), China Guardian has exceeded Poly Auction in
Sales in the sector included very highly priced lots auction house (with sales in Beijing and Hong Kong versus 46% in Hong Kong). the reports of the CAA, despite their total sales
by contemporary artists, such as Cui Ruzhuo and Zao of a combined $378 million).29 reported as a lower amount.
Equally persistent is the issue of late payment and
Wou-Ki, who both achieved prices in excess of $20
non-payment at auction, although figures published
million for individual lots at auctions in Beijing, while Top-Tier Auction Houses
works by both Chinese and Western contemporary Greater China overtook in 2020 saw signs of improvement. The Chinese
Auctioneers Association (CAA) published figures based
Nearly all of the major auction houses saw declining
artists gained high prices in sales in Hong Kong. The
highest prices overall of the year were in the Chinese
the US to become on a sample of auction houses for lots paid up to
sales in 2020. Values in the auction market are
highly concentrated in the top tier, with the top five
mid-May 2020. In their sample of lots over 10 million
painting and calligraphy sector, which accounted for the largest global market, RMB (around $1.5 million), the share of unpaid lots
auction houses accounting for more than half of the
46% of sales, and included the previously mentioned value of global public auction sales.
Wu Bin lot for $76.6 million, the highest priced lot with a share of 36% fell slightly for the third consecutive year to 31% (from
35% in 2019). The remaining lots were either fully In top-tier houses such as Christie’s, Sotheby’s,
sold in China in 2020, and the second-highest-ever
price for a lot sold at a Mainland China auction.
of public auction sales paid (56%, up 6% year-on-year) or partially paid (13%). and Phillips, the share of fine art sales has increased
Despite some very strong individual sales in Hong

by value The reasons for unpaid lots are varied, but indicate
the flexible payment conditions extended by some
by value over time and accounted for over 75% of
total sales in 2020.30 However, in the major auction
Kong, aggregate values there declined by 21%, while auction houses to buyers in China. Clearing rates houses in Greater China, decorative art and antiques
those in Mainland Chinese auctions were stagnant. are also different by sector, with the highest rates in accounted for a larger share, although as noted
Mainland China continued to dominate values with a the oil painting and contemporary art sectors (71%) above, fine art sales have advanced for the last two
share of 71% of sales by value (up 9% year-on-year), and lowest for decorative sectors such as antiques years (to 59% in 2020). The structure of sales at
28% in Hong Kong, and just 1% in Taiwan. Apart from (46%). Although issues of late and non-payment at Heritage Auctions is also substantially different, with
some strong sales in Beijing for the leading houses auction are not unique to China, their persistence fine art only having a minority share.
here is notable. Apart from the problems it causes the
28 The classification of works sold at auction in Mainland China differs considerably from those used in Western auctions. An explanation of these sectors is given in the 30 In the second tier, the share of fine art averaged 55% in 2020 and 30% or less in the lower-tier houses.
Appendix. Unlike its position in Western markets, contemporary art is one of the smallest sectors of Chinese auction sales. However, this low growth while other
sectors declined meant its share by value shifted up by 4% year-on-year to 22% of total values.
29 Sales data supplied by AMMA in January 2021. Yongle Auctions was a second-tier auction house in Mainland China and had ceased most active operations in 2013.
The company was purchased by Beijing Zixinyongle Culture Ltd. Company in 2019, whose largest shareholder is the previous general manager of Poly Auction,
Zhao Xu, who relaunched the company at the end of 2020.
Total sales through all public and private channels and buyers in Asia during the year new to Sotheby’s coming through online channels. Christie’s sales were down 17% from $1.1 billion in 2019, a second consecutive
at Sotheby’s in 2020 reached just over $5 billion, and 30% aged under 40. Buyers from Asia were globally diversified, with 34% of global sales by value year of declining sales.31 The majority (88%) of their
down from a reported $5.8 billion in 2019. Public purchasing at relatively high prices, with nine of the to buyers in Asia, 33% to those in the US, and the sales by value were in Beijing, with sales in Hong Kong
auction sales totaled $3.5 billion, down 25% on 2019, top 20 lots by price sold at the auction house during remaining 33% to Europe, the Middle East, and Africa. accounting for just 5% and Xiamen 7%. China Guardian
and its second year of declining sales. Over 70% of the year going to Asian buyers, and the company’s was the fourth largest auction house based on reported
Despite the drop in public auction sales, private sales
all sales were held online (up from 30% in 2019), with average auction lot value in Asia at the highest level sales totals of $692 million, down 27% on 2019.
increased for a third consecutive year to $1.3 billion,
a total value of $584 million in online-only sales, for five years. Online sales in Asia also advanced Like Poly Auction, China Guardian saw a rise in share
up 57% compared to 2019, and accounting for 30%
their highest ever total online and an increase of over by 440%, with 63 online auctions held in the region. of their Beijing sales to 93% of total sales (from 89%
of the company’s gross revenues, double the share
650% from 2019. Private sales also rose to their Sotheby’s also experimented with new formats in in 2019), with the remaining 7% in Hong Kong. Chinese
of 2019.
highest total in recent years, $1.5 billion, up over 50% Asia including their In Confidence: Selected Masterpieces auction houses are generally not permitted under
on 2019 and representing around 30% of the sales in Hong Kong, a hybrid auction format with Christie’s also experimented with new formats, the laws of Mainland China to conduct private sales
company’s total revenue. Again, this was almost a silent auction based on absentee bids, but with no including an international relay sale, ONE, or ‘non-auction sales’, although some companies
double the share of private sales in 2019 (17%) and published prices or bids. which offered a mix of works between sectors, have set up separate legal entities to conduct business
surpassed the peak in private sales in 2013 (at $1.2 including Impressionist and Modern, Post-War and outside the auction sector. The extent to which
Sotheby’s sold a number of record works, including
billion and 19% of sales). Contemporary art and design. The sale was held private sales occur at either of these major houses is
the year’s highest priced Francis Bacon lot cited above
in a relayed sequence from Hong Kong, Paris, London, therefore not included in their annual reporting.
Sotheby’s reported particularly strong sales in Asia, and Ren Renfa’s late 13th century/early 14th century
and New York, and achieved some of their highest
with auction sales there representing $932 million scroll Five Drunken Princes Returning on Horseback, for Heritage Auctions was the fifth largest auction
prices for the year, including Roy Lichtenstein’s
and Asian buyers accounting for 30% of their global $39.6 million in Hong Kong. house with sales of $873.1 million, going against the
Nude with Joyous Painting (1994) for $46.2 million,
sales. Their buyer base expanded and there was a prevailing trend with an increase in sales of 6%
Christie’s reported total global sales through all Barnett Newman’s Onement V (1952) and Brice
shift to young collectors, with 40% of their bidders year-on-year. Unlike the other major top-tier houses
channels of $4.4 billion for 2020, down 25% Marden’s Complements (2004-2007), both selling for
such as Phillips, Christie’s, and Sotheby’s, where fine
year-on-year from $5.8 billion in 2019, also the second $31 million. Christie’s also sold a T-rex skeleton
art dominates, Heritage’s sales are focused largely on
Nearly all of the major year of decline. Aggregate public auction sales fell
38% from $4.9 billion to $3.1 billion in 2020, however,
(nicknamed Stan) for $32 million, as an addition to
its 20th Century live-streamed evening sales in
the antiques and collectibles categories. Heritage
auction houses within those, online-only sales rose by over 260% to October and achieving the highest ever price for
Auctions also conducts a majority of their sales online,
with online-only sales accounting for 58% of their
$311 million, with over 200 sales and the highest ever a fossil at auction.
saw declining sales total for the company. Online sales drove an influx of
turnover by value. Private sales accounted for 27%,
Poly Auction was the third largest auction company, totaling $235 million (from $257 million in 2019).
in 2020 new buyers, with 36% of buyers through all channels
with reported public auction sales of $911 million,
being new to the company in 2020, with many
31 Sales data is from AMMA, the Art Market Monitor of Artron. Data is reported to Arts Economics in January each year and pertains to all data available and reported
to AMMA by December 31 of the previous year.
Phillips achieved sales of $760 million through all withdrawn in the past due to a variety of reasons Figure 3.3 | Share of Total Sales by Sales Channel (Second-Tier Auction Houses)
channels in 2020, down 16% on 2019 (and only including legal disputes, regulatory matters, or
17% lower than the company’s historical peak of $916 specific issues related to the sale, in more recent Share of sales Auction Private sale Online internal Online third-party platform
million in 2018). Although the aggregate value of years, lots appear to be being withdrawn because of
public auction sales declined 11% to $653 million the perception by auction experts that there may be 100% 8%
16% 13%
(from $736 million in 2019), the company held a weak or no bidding in the sale. Auction experts have 36% 17%
80% 17%
number of successful individual sales, notably their become increasingly sophisticated in forecasting 24% 3%
4%
20th Century & Contemporary Art Evening and Day demand, aided in part by the fact that there are far 60% 10% 4%
Sales in New York, which reached a combined total of greater requirements in terms of registering for 7%
40%
$162.4 million, the highest ever sales total in this bidding than was the case 20 or 30 years ago. This 72%
66%
56%
category and with a number of multi-million dollar means that experts will often have a clear idea 20%
47%
prices, including David Hockney’s Nichols Canyon prior to the sale of who will be bidding on the day,
(1980) for $41.1 million and Clyfford Still’s PH-407 particularly for key lots in major sales. 0%
Under $5m $5m–$10m Over $10m All respondents
(1964) for $18.4 million. They also continued their
The withdrawal of a lot prior to the auction has
expansion of sales in Asia, with total sales in Hong
an advantage for vendors as it removes any stigma
Kong reaching $152 million, a 24% increase on 2019 © Arts Economics (2021)
of a lot going unsold or being bought-in. But it
and their highest total in Asia since they entered
presents new problems for the analysis of published
the market there five years ago. Unlike Christie’s and
auction sales results. This trend creates difficulties in doubt be much lower. In many sales, very high value own domestic markets but also engaging with
Sotheby’s, private sales fell by 38% to $106 million
some assessments of the strength of certain markets, lots may be withdrawn immediately prior to auction, international buyers and sellers.33
(after two years of double-digit increases to $172 million
as it can make them appear more buoyant than so the published sell-through percentages of the
in 2019). This brought the share of private sales A survey of second-tier auction houses in 2020 by
they actually are. Many auction houses publish the auction appear higher than if the entire original sales
down to 14% of the company’s total revenues, from Arts Economics revealed mixed performance.
sell-through rates of their sales by both value catalogue had been included.
19% in 2019. Although most businesses experienced stagnant or
and volume, which includes works that were sold
declining sales, just over one third (35%) of respondents
An important issue that arose again in 2020, and unsold at the sale but excluding any withdrawn Second-Tier Auction Houses
reported an increase in sales year-on-year.
particularly in relation to sales in the top-tier auction lots. There is often no clear way to differentiate in Although values in the auction sector are concentrated
Anecdotally, many businesses in this sector noted
houses, was the incidence of lots being withdrawn post-sale results which lots were withdrawn versus in some of the top-tier auction houses, there are more
the main negative effects of the pandemic were
from sales immediately prior to an auction. While this which were bought-in.32 If withdrawn lots were than 500 medium to large second-tier businesses
on supply, as cautious vendors preferred to wait it
is not a new practice in the sector, with lots being included in these results, the sales rates would no that also generate significant sales, dominating in their
32 Buy-ins can make up a significant share of the sales at auction. In 2020, they ranged from 33% of the lots offered in Post-War and Contemporary art to 40% in 33 The sector also includes third-tier auction houses, which are smaller businesses in domestic markets that tend to specialize in their own national art and related
Old Masters auctions. While fine art auction markets in the US and UK averaged only around 20%, they are also considerably higher in China (51%) and France (48%). areas, while there are also many auction houses that regularly sell art alongside other property, such as real estate, cars, and collectibles.
Figure 3.4 | Number of Buyers in 2020 by out until the market and outlook generally became while online sales increased to 30% of sales by value Figure 3.5 | Local versus Foreign Buyers:
Second-Tier Auction House Turnover Level more positive, along with the lack of opportunities to (from 19% in 2019). Private selling remained relatively Number and Share of Sales in 2020
conduct sales as lockdowns restricted live sales low for this segment at just 4% on average (down
Number of buyers and their related activities. The survey indicated that slightly from 6% in 2019). It was notable that Share of buyers/ Local Foreign
average business closures were just six weeks, although private selling has been more associated Share of sales % Sales to local
1800 1,700 and one third of businesses did not close at all, being with larger businesses, in 2020, respondents
100%
able to maintain trading through online auctions. with lower turnovers reported a higher share (7% for
1500 21%
1,400 Despite most being able to sell online, experts in the those with turnover less than $5 million versus 33% 33%
27%
1,260 sector noted anecdotally that the logistics connected 3% for those with sales over $10 million). Online sales 80%
1200
to sales that involved physical and face-to face were also much higher for smaller auction houses,
72%
885
interaction, such as presale viewings, or physical tasks accounting for 46% of the value of their sales in 2020 60% 65%
67%
900
and transport, such as conservation, reframing, for those with sales less than $5 million versus 59%
research, and restoration, were very challenging during 25% for those with turnover greater than $10 million.
600 40% 79%
the year. Some also noted that demand was thinner (This was also evident in a larger sample of auction 67% 67%
73%
than usual in some sales, with a lower volume of data provided by Invaluable.com discussed in
300
bidders. Chapter 5, which looks more closely at online sales 20%
by auction houses.)
0 The second-tier houses reported that their live or
Under $2m– Over All 0%
public auction sales accounted for 66% of their total Second-tier auction houses dealt with an average
$2m $10m $10m respondents Under $2m– Over All
sales in 2020 (based on a turnover-weighted of 1,260 buyers in 2020, with the number of buyers $2m $10m $10m respondents
© Arts Economics (2021) average of respondents), down 9% year-on-year, rising positively with the level of sales turnover.
However, unlike some of the top-tier houses who
deal with a vast international client base over
Public auction sales accounted multinational salesrooms, auction houses in this
sector tend to deal predominantly with local buyers
for 66% of total sales for second-tier auction (73% of their total buyers, up from 71% in 2019).
They also made a majority of their sales by value in
houses, down 9% year-on-year 2020 to local buyers within the country where their
business was based (67%, stable on 2019).
Figure 3.6 | Share of Sales by Buyer Type As in the dealer sector, the majority of sales at Figure 3.7 | Share of Sales to Buyer Groups by Purchase History in 2020
for Second-Tier Auction Houses in 2020 second-tier auction houses were to private collectors
in 2020 (65%, or 70% including art advisors and Share of sales New buyers Buyers 1–5 years Buyers over 5 years
International museums 1% Others 6%

interior designers). The share of sales made to other
Local museums 2% businesses and agents in the art trade expanded to 100%
Private institutions 3%
18% (from 12% in 2019, and versus just 4% for dealers
29%
33% 33% 33%
in 2020). The share of sales made to museums 80%
Art trade
18% dropped slightly from 5% in 2019 to 3% (and versus
10% for dealers).
60%
Interior
designers Second-tier auction houses reported that 27% of 44% 33%
2% 41% 40%
Art advisors Private collectors the sales they made were to new buyers in 2020, an 40%
3% 65%
increase of 5% on 2019, as the share to long-term
buyers dropped to 33%. The remaining 40% were to
20%
buyers they had been dealing with for one to five 34%
26% 27% 27%

years. There were few significant differences based on
the size of auction houses, although those with 0%
Under $2m $2m–$10m Over $10m All respondents
turnover greater than $10 million reached slightly
more new buyers than smaller houses.
Respondents to the survey were relatively well
established, averaging 40 years in business, with only
16% operating for less than 10 years. Not surprisingly,
newer businesses had a greater share of sales to Second-tier auction houses reported
new buyers, with those operating less than 10 years
making more than one third of their sales to new
that 27% of the sales they made were to new buyers
buyers versus just 25% for those operating for more in 2020, an increase of 5% on 2019
than 20 years.
Figure 3.8 | Second-Tier Auction Houses’ Outlook for Sales in 2021 Unlike dealers who saw a significant change in the Overall, considering the changes in costs and sales
cost structures of their businesses with the cancellation over the year, most businesses reported that they
Share of respondents Sales by your auction house Sales in your main country of business of art fairs and travel, auction houses in this segment managed to maintain stable or even increasing profits
reported little change in the dispersion of operating in 2020, with only 20% of businesses in this sample
80% 77%
costs from 2019 to 2020. Payroll was one of the seeing a decline in net profit from 2019. Some
62% largest elements, averaging 47% of operating costs in businesses noted anecdotally that they had already
60% 2020, relatively stable on the previous year. Indications heavily invested in technology in recent years and
from this sample were that employment was relatively that this was generating cost savings for their
40% stable, with a majority of businesses maintaining businesses now. Although many hoped to retain live
32%
employment levels, however, many had availed of sales, there was a consensus that the shift to online in
20% 17% income supports during the year to do so. (Chapter 7 the sector was permanent and expanding, and that
6% 6% discusses employment in the sector in more detail.) where live sales existed, they might be more focused
0% Some businesses noted that the pandemic had on dealers and advisors, with less social elements.
Increase Same Decrease
spurred them to introduce changes that were already While face-to-face interaction and viewing were still
in the pipeline for several years, affecting their important for some sales, experts noted that in
© Arts Economics (2021) cost structures. A common example was a reduction future this could be more about ‘moving works to
of printed catalogues, with some businesses people rather than people to works’.
moving to online-only catalogues or only producing
Looking ahead, most auction houses were optimistic online sales along with more online-only sales were occasional or bespoke catalogues for special, big
about sales in 2021, both for their company and for very likely to continue in future. Some felt that the ticket sales. Some businesses in Europe also reported Looking ahead,
their national markets. 77% thought that their sales
would improve, and only 6% predicted a decline.
necessity to buy online in 2020 had encouraged some
new buyers to engage with the channel for the first
that the new anti-money laundering regulations
had introduced additional burdens in both time and
most auction houses were
Anecdotally, many experts in the sector noted that time or more than they had before, and that this money to ensure the correct protocols and training optimistic about sales
much of the transformation to digital sales in this might encourage more sales in 2021, particularly as were in place. Many also noted that their moves
part of the market was well underway, and although economies adapted and the market generally to greater online sales had in some cases required in 2021, with 77% expecting
this ramped up significantly in 2020, most were
convinced that this was not a temporary change, and
improved, which they hoped would encourage some
more reluctant vendors.
significant investments in technology in recent years,
although many considered this as a necessary
them to improve
that new formats for selling that combined live and additional cost and one that was part of their longer-
term plans before 2020 and the COVID-19 pandemic.
3.2 | Price Segmentation in Fine Art Auctions prices below $5,000, although these made up just Figure 3.9 | Share of Lots Sold and Total Value at Global Fine Art Auctions in 2020 by Price Bracket
While the downturn in the auction sector in 2019 was 2% of sales values. At the higher end of the market,
mainly driven by a reduction in the number of very works selling for more than $1 million accounted for Share of sales Volume Value
high-end lots being sold, 2020 saw declines in both 54% of the total value of sales in just 1% of lots sold,
the value and volume of works sold across all price virtually unchanged on 2019 (and down from 59% in 40% 38%
segments of the fine art auction market.34 Because of 2018). Sales at the $1 million-plus level declined by
30% 29%
this widespread drop in sales, the distribution of 27% in 2020, with a fall in the number of lots of 28%.
25% 24%
value between segments was relatively stable year- The value of sales at prices less than $1 million also
19% 20%
on-year, with works priced above $1 million still declined by a similar 25%, with slightly higher 34% 20%
14%
dominating values, and those sold at prices less than contraction in volumes.
10% 10%
$50,000 accounting for most of the volume of sales. 10%
The largest segment by value in 2020 was works 6%
2% 2%
Figure 3.9 sets out the distribution of fine art auction selling for between $1 million and $5 million, while 0.4% 0.5% 0.1% 0.04%
0%
sales in 2020 by price segment. Works sold for less top-end works for prices in excess of $10 million Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m
than $50,000 accounted for 92% of the total number accounted for 20% (stable on 2019). Sales in
of works sold and 12% of the market’s value (stable on the $10 million-plus segment fell in value by 25%
© Arts Economics (2021) with data from Artory
2019). The majority of works sold (67%) were for year-on-year.
2020 saw declines in both the value and Works selling for more than
volume of works sold across all price segments $1 million accounted for 54% of the total value
of the fine art auction market of sales in just 1% of lots sold
34 For the purposes of this analysis, fine art includes paintings, sculptures, and works on paper (including watercolors, prints, drawings, and photographs), while
decorative art includes furniture and decorations (in glass, wood, stone, ceramic, metal, or other material), couture, jewelry, ephemera, textiles, and other antiques.
Figure 3.10 | Share of Global Fine Art Auction Sales by Price Bracket (Online versus Offline)
a. Share of Sales by Value Online Offline b. Share of Sales by Volume Online Offline
71%
70% 70% 66%
60% 58% 60%
50% 50%
40% 34%
40%
33%
30% 30%
24% 25%
20% 19%
20% 20%
13%
10% 7% 8% 10%
6% 6%
4%
2% 1% 2% 0.05% 1%
0% 0%
Under $5k $5k–$50k $50k–$250k $250k–$1m Over $1m Under $5k $5k–$50k $50k–$250k $250k–$1m Over $1m
© Arts Economics (2021) with data from Artory © Arts Economics (2021) with data from Artory
As live sales were restricted over the year, many was sales of works priced between $5,000 and 3. The high end: prices in excess of $1 million, the sales. Nonetheless, considering the change in values
auction houses focused more on online-only sales, $250,000, which made up 67% (versus 21% of ‘ultra-high end’, with prices in excessof $10 million. over the 10 years from 2011 to 2020, and despite
including some introducing the format for the offline sales). losing just over a quarter of its value year-on-year,
In recent years, the value of the auction market
first time in 2020. While the volume of works sold the ultra-high end has still had the best performance,
To analyze the performance of the different value has been highly influenced by the performance of its
at different prices was relatively similar online to and is the only segment that did not decline in
segments of the market, the following broad high-end sales, with the very thin volume of lots
offline, the value of online-only sales was focused nominal value over the decade.
definitions are used to divide the market: selling at the ultra-high end driving some of the biggest
predominantly on sales at prices below $1 million.
trends and volatility in sales. Growth rates in different Considering developments in these segments since
Sales over $1 million made up the majority (58%) of 1. The low end: prices up to $50,000;
segments also tended to rise with price levels. the last major recession in the market, the high end of
the total value of sales made offline, whereas they 2. The middle market: price segments ranging from
Values fell across the board in 2020, and losses at the the market has also outperformed other segments
accounted for just 6% of total online-only values. The $50,000 to $250,000 and from $250,000 to
high end were matched with those of lower priced in the period from 2009. The aggregate value of sales
majority of value in the online-only auction market $1 million; and
Table 3.1 | Annual Growth and Share of Sales of Auction Sales by Price Segment
a. By Value of Sales b. By Volume of Sales

Low End Middle Market High End Low End Middle Market High End
Under $50k– $250k– $1m– $5m– Over Under $50k– $250k– $1m– $5m– Over
$50k $250k $1m $5m $10m $10m $50k $250k $1m $5m $10m $10m
Share in 2011 15% 18% 23% 25% 9% 10% Share in 2011 89% 8% 2% 1% 0.1% 0.02%
Share in 2020 12% 15% 19% 24% 10% 20% Share in 2020 92% 5% 2% 1% 0.1% 0.04%
Change 2011–2020 –55% –55% –53% –48% –38% 7% Change 2011–2020 –32% –55% –52% –51% –38% 10%
Change 2009–2020 –23% –2% 27% 83% 115% 187% Change 2009–2020 7% –6% 27% 71% 111% 153%
CAGR35 2011–2020 –8% –8% –7% –6% –5% 1% CAGR 2011–2020 –4% –8% –7% –7% –5% 1%
CAGR 2009–2020 –2% 0% 2% 5% 7% 9% CAGR 2009–2020 1% –1% 2% 5% 6% 8%
Change in Value Change in Value
2019/2020 –25% –25% –26% –27% –34% –25% 2019/2020 –35% –24% –25% –26% –34% –23%
in the price segments over $250,000 have all increased The data by price segment shows that 2020 was unlike (priced over $10 million) accounted for 20%, double number of lots auctioned worldwide in 2011 and
in aggregate value, with growth being positively the recession of 2009 in terms of the distribution their share a decade earlier. Some of this was this was still the case in 2020. The low end (works
related to increasing price levels. The aggregate value of value. The segment of $10 million-plus works went due to increased prices generally over time, but it sold for less than $50,000) is where most of the
of works priced at over $1 million has increased 119% from accounting for 16% of total sales values in has also been driven by the outsized growth of this day-to-day transactions of the auction business take
since 2009, versus just 1% for sales below $1 million. 2007 to 10% at the height of the global financial crisis segment relative to others. These changes have been place, and this changed only marginally from 89%
The ultra-high segment increased by 187% since 2009, in 2009, whereas in 2020, it maintained a stable at the expense of the middle market, which dropped of lots sold in 2011 to 92% in 2020. This low end had
significantly higher than any other segment despite share year-on-year. The share of market accounted from 41% to 34% in the same 10-year period. the biggest contraction in volume over 2020 (down
considerable moderation over the last two years. for by works priced over $1 million has also expanded 35%) but again, as set out in Table 3.1b, all segments
It is notable when considering the share of the volume
over time. In 2005, the value accounted for by sales experienced double-digit declines in volume.
of sales on the other hand, very little has changed
over $1 million was 33%, and this expanded to 44%
over the decade. The high end of the market (works
in 2011, and again to 54% in 2020. Ultra-high-end lots
priced over $1 million) accounted for a tiny 1% of the
35 CAGR refers to the compound annual growth rate.

Figure 3.11 shows the performance of the different It is also clear, however, that this high-end segment Figure 3.11 | Growth of Sales by Value in Auction Price Segments 2005–2020
segments from a wider historical perspective, has been subject to more volatility. Just as it was key
using an index tracking the growth in sales values in in driving the peaks in the market, it was also pivotal Index base = 100 in 2005 Under $50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m
the different price segments, with 2005 as the in previous declines (such as in 2009, 2016, and
base year. This shows how the ultra-high end of the 2019), which were much more pronounced in terms 1,200
market (works sold for over $10 million) has of the change in sales for this segment versus others. 1,000
pulled away from the other segments, particularly in For example, in 2009, although all segments fell in
800
peaks of the market in 2014 and 2018, driving the value, the low end (works priced less than $50,000)
boom in sales in both of these years as a relatively fell by 8% versus a drop in value at the ultra-high 600
small number of very high-value works boosted end of 63%. Similarly, in 2016, the fall in value at the 400
growth substantially. It also shows that this segment ultra-high end (of 53%) was just over twice the decline
200
has also grown at a much higher rate over time: of the low end. The recession of the market in 2020
in the extended period shown from 2005 to 2020, is somewhat atypical therefore as, although the 0
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
starting with a base of 100 in 2005, the index for ultra-high end declined, sales fell fairly consistently
the $10 million-plus segment reached 496, more than for all price segments as the number of live auctions
double the level of any other price segment, and diminished and businesses were forced to close © Arts Economics (2021) with data from Artory
significantly more than the lower end (works priced for periods of the year. The segment of works selling
up to $50,000) that declined to 98. for prices between $5 million and $10 million
experienced the largest decline in 2020 (down 34%).
The segment of works selling for prices The $10 million-plus segment has grown
between $5 million and $10 million experienced at a much higher rate over time but has also
the largest decline in 2020 of 34% been subject to more volatility
Figure 3.12 | Market Share of the Fine Art Auction Market by Price Segment in 2020 As noted earlier, the three largest auction markets As there is a relatively small number of transactions
of Greater China, the US, and the UK account for at the highest end, this part of the market is focused
a. Share of Sales by Value b. Share of Sales by Volume US UK the majority share of the value of sales. These three on a very small number of artists. Just less than
Greater China Others largest markets are also where most of the highest 1% of the artists active in the auction market in 2020
100% 4%
100% price works are sold and act as hubs in their regions, were responsible for works that sold for over
7%
19% 21% assembling a critical mass of works together for sale $1 million (or around 350 artists worldwide), and this
80% 36%
43% 80% at auctions to attract both regional and international small share has been a consistent finding in this
46%
43% 53%
46% buyers. Because they dominate the high end of the research over the last 10 years.
market, their market share varies by price level, with
60% 43% 60% 41% Another consistent trend is that most of these artists
their combined share increasing as prices rise.
24%
15% are men. Of all of the artists whose works sold for
17% 18%
40% 40% 14% In the market for works priced below $50,000, prices for over $1 million, just 8% were women (from
18%
18%
the US, Greater China, and the UK accounted for 64% 7% in 2019). Female artists’ works generated just
17% 17%
12% of sales by value in 2020 and 47% of the lots sold. 9% of the total values of sales at prices over $1 million.
20% 42% 20%
36%
29%
36% In the middle market (works priced between $50,000 The dominance of male artists at auction, both in
22% 21% 21% 21%
and $1 million), their share increased to 81% (and terms of the number of artists and sales values, is not
0% 0% 79% by volume). However, moving up to the market confined to the top end of the market and was
Under $50k $50k–$1m Over $1m Over $10m Under $50k $50k–$1m Over $1m Over $10m over $1 million, this reached 96% by value, with the apparent at all levels of the auction market in 2020.
fourth largest market France accounting for a further Where the gender of the artist was known, the
© Arts Economics (2021) with data from Artory 3%. While Greater China has maintained the largest data showed that works by female artists accounted
share in the price segments of the market less than for 7% of the total lots sold and 8% of the value
$1 million for the past three years, the US usually of sales in the auction market (up just 2% in share by
At the highest end of works sold for over dominated in the fine art auction market above
$1 million, accounting for 48% of sales in 2019. In 2020,
value on 2019). At the highest level of works priced
over $10 million, only 6% of the lots sold were works
$10 million, Greater China edged one percentage point it fell into second place (36% of total sales over by women, and these accounted for an even smaller
$1 million) to Greater China (43%). At the highest end share of sales at 4%, again, virtually unchanged from
ahead of the US, with a share of 43% of works sold for over $10 million, virtually all of 2019. These minority shares by value for the sale of
the value of sales came from these three markets. Here female artists’ work were consistent throughout all of
again, the US consistently held the largest share the major regional auction markets, ranging from a
in previous years (at 62% in 2019), but in 2020, Greater low of 3% in Greater China to one of the highest shares
China edged one percentage point ahead of the US, of 13% in the US.
with a share of 43% of this top segment.
130
Figure 3.13 | Share of the Fine Art Auction Sales by Female Artists by Price Level in 2020
Share of sales Value Volume
12%
10%
10% 9%
8% 8% 8% 8%
8% 7% 7%
6%
6%
4%
4%
2%
0%
Under $50k $50k–$250k $250k–$1m Over $1m Over $10m
The secondary market at auction is biased toward top-selling female Post-War and Contemporary
the work of male artists in part, as it is based on sales artists had strong auction markets in 2020.
of historical works, where the supply of male There were around 24 artists who had aggregate
artists’ works is much greater. As would be expected, auction sales in excess of $50 million in 2020,
therefore, there was a higher-than-average share and two of these artists were women: Joan Mitchell
by value for female artists’ works in the Post-War and with an auction market of around $71 million and
Contemporary sector, although still a significant Yayoi Kusama ($62 million). Another 11 female artists
minority, at 13% (versus 5% or less for artists in older had markets in excess of $10 million, and nearly
sectors). This relatively higher share is due in part all of these were Post-War and Contemporary artists.
to more artists in this sector that are female (15% of
the artists in total), but also because some of the
3.3 | Fine Art Sectors To assess the performance of sales by sector, To ensure the most consistent analysis of sales share has been greater than 70% in most of the last
The fine art auction market dominated decorative definitions of the sectors are required to be based over time, one central art price database is used from 20 years, with Post-War and Contemporary leading
art and antiques in terms of the value of sales in on specific criteria such as an artist’s date of birth, Artory, with data for Chinese sales supplemented (with the exceptions of 2009 and 2010). Post-War and
2020, as it has in most recent years, and has driven the date of creation of their works, and also from Artron. The Artory database covers sales from Contemporary sales reached their highest ever
growth in over the last decade, being where most the importance of artists to a particular movement. 4,000 auction houses, with consistent auction results share in 2020 at 55% (from just 17% in 2000), while
of the highest priced transactions occur at auction. Within the art trade, there are many different gathered for around 250 businesses in more than 40 the peak for Modern art was in 2006 at 36%.
Although there has been considerable variation in definitions of the various sectors but, for the purposes countries. The database comprises results from major
sales in recent years between sectors, in 2020, of this analysis, we have used the following:36 sales in first- and second-tier auction houses around
all those within the fine art auction market declined
a. Post-War and Contemporary, defined as artists
the world, and does not restrict inclusion by final In 2020, the largest
in value.
born after 1910;
price or estimate value, hence offering coverage of
the full range of prices that occur at auction. The data
sector in the fine art auction
Post-War and Contemporary and Modern art have
led the fine art market for the last 20 years, accounting
b. Living artists, defined as artists alive in 2019, by sector in the following analysis is based on a market was Post-War
which are analyzed as a subset of the Post-War and sample of 250 auction houses, and only includes data
for the largest aggregate share and many of the works
Contemporary sector; where full artist attributions can be assigned to the and Contemporary art,
sold for prices over $1 million. In 2020, the highest
priced lot sold at auction came from the Post-War c. Modern, defined as artists born between 1875
sale. This allows for consistent estimates over time of
the key trends, but the values and volumes do not
which along with
and Contemporary sector, the previously mentioned
work by Francis Bacon’s Triptych Inspired by the
and 1910;
represent the entire amount of sales at auction in these Modern art accounted
d. Impressionist and Post-Impressionist, which sectors. It is estimated that these top auction houses
Oresteia of Aeschylus (1981), which sold for $84.6 million
are defined as artists born between 1821 and 1874; represent at least 70% of the value of the market in for 81% of the value of sales
at Sotheby’s digitally-streamed live auction
that combined Post-War and Contemporary and e. Old Masters, defined as artists born between
most sectors. at fine art auctions
Impressionist art in June in London. 1250 and 1821; and In 2020, the largest sector in the fine art auction
market was once again Post-War and Contemporary
f. European Old Masters, defined as Old Master
art, which along with Modern art accounted for
artists of European origin, which are analyzed
81% of the value of sales at fine art auctions and
separately as a subset of the Old Masters sector.
the number of lots sold. Both of these sectors have
expanded rapidly over the last 20 years, from
accounting for less than half (48%) of the market by
value in 2000. Their combined
36 Most artists’ categorization is based on date of birth, but there are a small number of artists who are included in different sectors because of their relevance to
a particular movement, for example, Francis Bacon (born 1909) and Mark Rothko (born 1903) are both included in the Post-War and Contemporary sector despite
the cut-off date of 1910.
Figure 3.14 | Market Share by Value of the Fine Art Auction Market: Selected Years 2000–202037 Figure 3.15 | Market Share by Sector of the Fine Art Auction Market in 2020
Share of sales Post-War & Contemporary Modern Others a. Market Share by Value of Sales b. Market Share by Volume of Sales
European Old Masters Other Old Masters

100% Other Old Masters 3%
European Old Masters
2%
6% 5%
21% 22% 19%
26% 24% 23% 25% Impressionist and
30% 29% Impressionist and Post-Impressionist
Post-Impressionist
80% 10%
12%
52%
26%
29% 25%
28% 23%
60% 29% 32%
36% 36% Post-War and Post-War and

Contemporary Contemporary
55% 55%
40% Modern Modern
26% 26%
31%
52% 53% 55%
49% 50%
45% 44%
20% 35%
34%
17%
0%
2000 2006 2008 2010 2012 2014 2016 2018 2019 2020

Given the growth in online-only sales in 2020, it is second largest share online at 23% by value and
interesting to assess if this structure of sales is similar 22% by volume. Impressionist and Post-Impressionist
online. For online-only auctions in 2020, the share by works accounted for 14% by value (and 10% by
value of Post-War and Contemporary art was on par volume), with Old Masters being the smallest
with offline sales (56%), but with a higher share of the segment online (7% by value and 6% of the total
number of lots sold (62%). Modern art had the lots sold).
37 The shares here and throughout the chapter refer to the proportionate share of these sectors out of the four main sectors of the art market: Post-War and
Contemporary, Modern, Impressionist and Post-Impressionist, and Old Masters, including European Old Masters. It excludes transactions that cannot be classified
within these distinct sectors, or that predate Old Masters (which amounted to around 5% of the value of sales in the Artory database in 2020).
3.4 | Post-War and Contemporary Art The top three markets (the US, Greater China, and the Figure 3.16 | The Post-War and Contemporary Art Sector: 2009–2020
Post-War and Contemporary art was the largest sector UK) accounted for 87% of the value of sales in 2020
of the fine art auction market in 2020, as it has been and just less than half of the lots sold (at 47%). The US Billion $ Value Volume Volume
for the last six years, with a share of 55% of the value of has been the leading market for sales of Post-War
global fine art auction sales (up 2% in share year-on- and Contemporary art in most recent years, and was $8.0 160,000
year) and 55% by volume (up 4%). Sales in the sector again in 2020, although its margin was reduced as $7.0 140,000
totaled $4.7 billion, a decline of 23% year-on-year, China gained ground. The US accounted for 36% of the
$6.0 120,000
marking two years of decreasing values from 2018. The value of sales, down 6% on 2019 (with a stable 24%
number of lots sold fell by 13% year-on-year. of volumes). $5.0 100,000
Sales of Post-War and Contemporary art have been After two years of growth to 2018, sales in the US $4.0 $7.9 80,000
among the most dynamic in the auction market, have declined for two years, falling by 35% in 2020 to $6.6 $6.8 $6.8
$3.0 $6.0 $5.9 $6.2 $6.1 60,000
showing the strongest growth in many years, but also $1.7 billion. This brought the market to its lowest $5.6
$4.7
subject to much volatility due to the outsized influence level since 2010 and meant that the value has declined $2.0 $4.0 40,000
of very highly priced works in the sector. Sales grew over the decade (by 10% from 2011 to 2020). However,
$1.0 $2.0 20,000
rapidly until 2007, but dropped 58% between 2007 total values are still more than double their low in
and 2009, in the fallout from the global financial crisis the market’s previous recession in 2009 ($721 million). $0
0 0
as the supply of high quality works declined. This Despite the decline, several of the highest priced 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
was one of the largest declines of any of the fine art lots of the year were sold in New York, including two
sectors, but was followed by a rapid recovery up from the top five highest priced lots, Roy Lichtenstein’s © Arts Economics (2021) with data from Artory
to a peak of $7.9 billion in 2014. From this peak, the Nude with Joyous Painting (1994), which was sold
performance of the sector has been mixed, and a under guarantee at Christie’s ONE Sale in July for $46.2
reduced volume of very highly priced works in 2019 million, and David Hockney’s Nichols Canyon (1980) Contemporary art sales peaked in Greater China in over the longer term (300% since 2009). Chinese
saw a drop in values of 10%. This second, consecutive for $41.1 million at Phillips in December, also under 2011 at $2.2 billion at the height of their booming artist Zao Wou-Ki remained the highest selling
annual decline in 2020 has brought the market guarantee. market, but have had mixed performance since then, artist in the sector for the second year, with sales of
back to levels just above 2010, meaning an overall fall including a decline of 14% in 2019 to $1.7 billion. $192 million in 2020, most of which were in China.
Greater China’s market share expanded by 7%
in values over a decade of 23%. However, sales in 2020 saw a further decline, but at only 6% by value, it These included 04.01.79 (1979) reported as sold at
year-on-year to reach 35%, and remaining in second
the sector were still more than double the level of was one of the most moderate of all of the major Yongle’s inaugural sale in December for $26.7 million,
position by value. Its share of the volume of
the previous recession in 2009 when the market art markets. At $1.6 billion in 2020, the market is down along with two works by Cui Ruzhen for in excess
lots declined year-on-year to 11%. Post-War and
fell to just $2.0 billion. 28% from its peak in 2011, but has shown huge growth of $25 million.
Figure 3.17 | Market Share of the Post-War and Contemporary Sector in 2020 Figure 3.18 | Sales in the Post-War and Contemporary Sector 2009–2020: Key Markets
a. Market Share by Value b. Market Share by Volume Billion $ Greater China France UK US EU
Others 7% $4.0
Germany 1%
France 5% US 24%
$3.0
US 36% Others 35%
UK 16%
$2.0
UK 12%
$1.0
France 9% Greater China 11% $0

Greater China 35% Italy 9% 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
The UK’s share of Post-War and Contemporary sales

was stable at 16% by value, with a small increase in
After running contrary to the declining trend in 2019,
sales of Post-War and Contemporary art in France
Sales in the Post-War and
the share in the volume of lots sold to 12%. 2020 was fell by 41% in 2020 to $224 million. This brought sales Contemporary sector totaled $4.7 billion,
the second year of declining sales in the UK, with to the level of 2010, and a fall of 16% over the
values falling 24% year-on-year from 2019 to reach decade to 2020. France’s global share also contracted a decline of 23% year-on-year
$779 million, substantially below its peak of $1.4 slightly to 5% by value, with a stable share of lots
billion in 2015, and down 23% over a decade. The UK sold. The EU, still including the UK, accounted for a
market is still more than double the value of the stable share of 25% (with sales of $1.2 billion),
2009 recession, with growth of 140% since that point, however, measured without the UK market as will be
versus just 7% for the EU measured without the UK. the case from 2021, EU sales accounted for just 9%
(and fell 32% year-on-year).
Figure 3.19 | Sales by Price Bracket in the Post-War and Contemporary Sector in 2020 Despite having some of the highest priced lots Sotheby’s and Christie’s accounted for the majority
every year, most of the sales in the Post-War and (66%) of Post-War and Contemporary sales in 2020,
Share of sales Volume Value Contemporary auction market are at much lower with Sotheby’s slightly ahead, accounting for just
price levels. In 2020, 91% of works sold were priced over one third of the market. Along with Phillips, these
40% 38%
below $50,000 and 66% were for less than $5,000 three top auction houses accounted for 73% of the
(stable on 2019). value of sales of Post-War and Contemporary art at
30% 28% auction. The top five auction houses by value of sales
26%
25% Works priced at over $1 million accounted for the
22% (Christie’s, Sotheby’s, Phillips, China Guardian, and
20%
majority (59%) of value in 2020 in just 1% of lots sold.
18% Poly Auction) accounted for 77% of the value of sales
Sales in this $1 million-plus segment fell 24% by
13%
11%
(and 34% of the number of lots sold).
8.9% value year-on-year, versus a slightly more moderate
10%
6% fall in value of 17% for those works priced less than
1.5% 2% The Sub-Sector of Living Artists
0.3% 1% 0.1% 0.05% $50,000. The proportion of works sold at the very
0% The Post-War and Contemporary sector comprises
Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m highest end of the market over $10 million was also
sales of the work of both deceased artists and living
stable at 22%, and sales in this top segment fell
artists. Apart from a few rare exceptions, the sales
21% year-on-year, with 20% less lots sold than in 2019.
© Arts Economics (2021) with data from Artory of works by living artists are secondary market sales
The highest selling artist at auction in this sector or resales of their works, implying that artists
in 2020 for the third year running was Zao Wou-Ki. have some level of establishment in their markets,
The share of sales accounted for by the Alongside Wu Guanzhong, David Hockney,
Jean-Michel Basquiat, and Cui Ruzhuo, the top five
although they may still be at various stages of their
careers. The value of sales of living artists’ works
top 20 Post-War and Contemporary artists rose artists accounted for 19% of total sales values, an has typically comprised a minority of the Post-War
increase of 5% in share versus 2019. The sector has and Contemporary sector, however, a number
considerably in 2020 to 48%, as values generally maintained a relatively low concentration of top-tier living artists have boosted this share in
became more concentrated around a small group of sales compared to others, with the top 20 artists recent years, with some responsible for the highest
accounting for 38% of total sales values in 2019 priced works sold at auction.
of very established artists (and 36% in 2018). However, this rose considerably
in 2020 to 48%, as values in the market became
more concentrated around a small group of very
established artists. The wider top 50 artists in the
sector accounted for 72% of the value of sales.
In 2020, living artists’ works accounted for 49% of China also had a number of very highly priced lots, Figure 3.20 | Share of Sales by Living versus Deceased Post-War and Contemporary Artists in 2020
the value of sales in the Post-War and Contemporary notably including works by Western artists, such
sector, up 5% in share year-on-year. Like the wider as Gerhard Richter’s Abstraktes Bild (649-2) (1987) for a. Share of Sales by Value b. Share of Sales by Volume Living Deceased
Post-War and Contemporary market, sales in this $27.5 million at Sotheby’s Hong Kong, showing the
sub-sector declined by 23% to $2.3 billion, with expanding interest in the region for non-Chinese 100% 100%
an equal fall in sales of works by deceased artists. Sales artists. Chinese artists’ sales included three lots from
32%
fell in nearly all markets, with the US having one Cui Ruzhou: Mountain Landscape in a Green Misty 80% 37%
45% 45%
80% 37%
42% 40%
51% 46% 48%
of the largest declines (down 45%), and leaving it in Fall (2017) for $29.0 million, Bird Singing in a Fragrant 62%
65%
second place behind Greater China, which had a Springtime (2020) for $27.1 million (both at Yongle
60% 60%
more moderate drop of 13%. Greater China accounted Auctions in Beijing), and Lotus in Drizzle (2020) at Poly
for 39% of the value of all sales, next to the US (28%). Auction in Beijing for $25.8 million. Greater China’s
Post-War and Contemporary sector skewed towards 40% 40%
The UK was the third largest auction market in this 63%
68%
63%
living artists, with sales accounting for a 55% share 55% 55% 58% 60%
sub-sector with a 21% global share by value in 2020, 49% 54% 52%
by value. 20% 38% 20%
and living artists’ works accounted for the majority of 35%
sales in its Post-War and Contemporary market, at David Hockney was the highest selling artist in
63% by value, the highest of any of the larger markets. this sub-sector in 2020, accounting for 7% of sales. 0% 0%
France UK EU Greater US Total France UK EU Greater US Total
These sales included British artist David Hockney’s This sector is slightly more concentrated than China China
The Splash (1966), which sold for $29.9 million at Post-War and Contemporary art, with Hockney and
Sotheby’s in London (with a presale irrevocable bid the rest of the top five artists (Cui Ruzhou, Gerhard © Arts Economics (2021) with data from Artory
in place). Richter, Yoshitomo Nara, and Yayoi Kusama)

accounting for 27% of total sales values. Over half
The highest priced lots of the year were sold in
New York, with Hockney’s Nichol’s Canyon (1980)
(55%) of the market’s value was concentrated
on the 20 top artists. This was the second year of
In 2020, living artists’ works accounted for 49%
selling for $41.1 million at Phillips and Brice Marden’s
Complements (2004-2007) at Christie’s ONE Sale
increasing concentration of values around the top 20, of the value of sales in the Post-War and Contemporary
from 44% in 2019 and 37% in 2018. Despite the
for $30.9 million, both under third-party guarantees.
difficult year for sales in the auction sector, there sector, up 5% in share year-on-year
Sales of living artists’ works accounted for a minority
were at least 48 lots by living artists sold for over
of the Post-War and Contemporary sector in the US
$5 million (from 65 in 2019).
(38% by value).
Figure 3.21 | Share of Sales within the Post-War and Contemporary Sector: Living and Deceased Artists Within the segment of living artists’ works, there half the value of these new lots sold in 2020, with a
has also been a rising share of relatively newly high share due to both collectors turning works back
a. Share of Sales by Value b. Share of Sales by Volume created works being sold at auction. In 2020, works to the auction market very quickly, and in some
Living artists – that were created in the last 20 years accounted ases, according to experts in the market in Mainland
Living artists – works created
works created in last 20 years for 26% of the value of sales in the Post-War and China, artists and other agents selling primary
in last 20 years 20%
26% Contemporary sector, up 3% year-on-year and from market works directly on the auction market, which
just 14% in 2017. These works accounted for 55% is very rare elsewhere.
Deceased
artists’ works of the value of all works sold by living artists (up 4%
40% Although some works by top living artists sell for
Deceased
in share year-on-year), and totaled $1.2 billion at
artists’ works
very high prices, as in the wider Post-War and
51%
auction, falling 22% from $1.6 billion in 2019.
Contemporary sector, most sales take place at much
Top-selling artists in this segment of newly created lower prices, with 92% of works sold being at prices of
works included Chinese contemporary ink painter Cui less than $50,000 and the majority (68%) sold for
Living artists –
works created more Living artists – Ruzhuo, with an auction market of over $118 million, prices less than $5,000. The sale of works priced over
than 20 years ago works created more
23% than 20 years ago Banksy with sales of $53 million, and Yoshitomo Nara $1 million, on the other hand, accounted for just
40%
($43 million) as well as George Condo, Zao Wou-Ki, over half of the market’s value (52%) in less than 1%
Brice Marden, Yayoi Kusama, and several others. The of the lots sold.
growing share of this segment indicates an increasingly
The largest segment by value, consistently for the
fast turnaround for some of these artists from the
last three years, was sales at prices between $1 million
primary market to the secondary sector, indicating
In 2020, works that were created in the last both a short resale period for collectors and more
and $5 million. This segment accounted for 26% of
total values in 2020, down 3% year-on-year (and it was
20 years accounted for 26% of the value of sales in investment-driven speculation in the market, as well
as the increasing movement of auction businesses into
also the largest price segment of works created within
the last 20 years). For these newer works, less lots
the Post-War and Contemporary sector a more traditionally dealer-driven area of the market.
sold for under $5,000 than living artists works generally,
This market is much more dominant in China, where
and the highest volume segment was the range from
several of the top lots sold in the Post-War and
$5,000 to $50,000 (36% of all lots in this category),
Contemporary sector were created in the last decade,
implying a slightly higher price point for many
including examples from the last three years, such as
of these newly created and quickly resold works.
the multimillion dollar top lot cited above by Cui
Ruzhou created in 2020. Greater China accounted for
146
Figure 3.22 | Sales of Living Artists’ Works by Price Bracket in 2020
a. Share of Sales - All Works Volume Value
40%
40%
30% 28%
26%
24%
20%
20% 18%
15%
11%
10% 8%
5%
2% 2%
0.4% 0.5% 0.04% 0.03%
0%
Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m
b. Share of Sales - Works Created in the Last 20 Years
40%
36%
30% 28%
26%
23% 22%
20% 17% 16%
10%
10% 9% 8%
3%
0.2% 1% 1% 0.1% 0.05%
0%

3.5 | Modern Art of 2009 (with 24% less lots sold in 2020 than in the Figure 3.23 | The Modern Art Sector: 2009–2020
Sales of Modern art were the second largest by value previous recession).
in the fine art auction market in 2020, with a share of Billion $ Value Volume Volume
Greater China remained the largest auction market
26% by value and volume. Although these were
for Modern art in 2020, having taken over from the $6.0 120,000
relatively stable year-on-year, the sector’s share has
US in 2019. Although the US had the largest number of
diminished significantly over the last 20 years, as sales
lots sold (24% of the total), a significant number of $5.0 100,000
of Post-War and Contemporary art have expanded.
very highly priced works sold in China during the year
While Modern art sales were almost twice the size of
drove its share up to 45%, an advance of 4% year-on- $4.0 80,000
Post-War and Contemporary in 2000, they have been
year. Despite the growth in share, sales in Greater
lower in value since 2011, with the margin between
China fell by 15% year-on-year, a second year of decline, $3.0 60,000
them increasing again in 2020 to 29%. $5.4
bringing the market to just over $1.0 billion. Values in
$4.6 $4.5
Sales in the sector fell sharply in the fallout from the 2020 were less than half of the market’s size at its $4.2 $4.3 $4.3
$2.0 $4.1 40,000
$3.6
global financial crisis, with the market losing one peak 10 years previous, when it was also the largest $2.9
$2.6
third of its value in the two years from 2007 to 2009. market worldwide in this sector, with $2.7 billion in $1.0 $2.2 $2.2 20,000
From this low point of $2.2 billion, sales grew strongly sales and a global share of 50%. However, the market
with robust recovery in US sales and a newly booming is still substantially larger than it was in any year $0
0 0
Chinese market. Within two years, the market had prior to 2010, and has grown by over 500% since 2005. 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
reached a peak of $5.4 billion in 2011, still its highest

Sales in the US had the sharpest decline of any of
recorded level of sales to date. © Arts Economics (2021) with data from Artory
the major markets, falling 43% to reach $514 billion,
However, the last decade has been volatile, with a their lowest point in over 15 years, and with a
series of peaks and troughs. The last two years have subsequent fall in global share by value to 23% (down
seen substantial, double-digit declines in value, with 8% year-on-year). This was the second year of While Modern art sales were almost twice the size of
the market down by one third in 2019, and another
23% in 2020 to reach $2.2 billion. The volume of lots
substantial sales decreases, with values having already
fallen 49% in 2019. Sales in the US peaked in 2015
Post-War and Contemporary in 2000, they have
also declined for a second year (by 24% year-on-year at a high of just over $2 billion, but this period of decline been lower in value since 2011, with the margin between
from 2019). These two years of falling sales mean brought values in 2020 to 46% less than a decade
values have declined 59% over the decade from 2011 previous, and 5% less than the recession in 2009 them increasing again in 2020 to 29%
to 2020, and the market is just 3% above the recession ($541 million).
Figure 3.24 | Market Share of the Modern Sector in 2020 Figure 3.25 | Sales in the Modern Sector 2009–2020: Key Markets
a. Market Share by Value b. Market Share by Volume Billion $ Greater China France UK US EU
Others 5% $3.0
Germany 2%
France 6%
US 24%
$2.5
Others 32%
$2.0
UK 19% Greater China 45%
$1.5
$1.0
Greater China 17%
Italy 4% $0.5
UK 11% $0
US 23%
France 12% 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
This significant fall in sale in the US also considerably

narrowed its margin with the UK, which remained
After a stronger year than other markets in 2019, sales
in France also fell by 10% to $136 million, and the
Sales of Modern art in the US had the
in third position but gained 3% in global share to 19%. EU as a whole, including the UK, declined 9% to $662 sharpest decline of any of the
Sales in the UK also fell over 2020, but by a more million. The falling share of the US market meant
moderate 9% to $421 million. After two years of falling that the EU’s market share of the Modern art sector major markets, falling 43% to their lowest
sales (with a 42% decline in 2019), aggregate values in advanced to 30% (up 5% year-on-year), but still less point in over 15 years
the sector were at their lowest level in a decade, than its peak in share at 52% in 2008. Without the UK,
although still 20% above 2009, when sales dropped the EU accounted for 11% of global sales.
to $351 million.
Despite the strength of sales by many Chinese This increased concentration of value at the high Figure 3.26 | Sales in the Modern Sector by Price Bracket in 2020
artists in the Modern art sector in 2020, Pablo Picasso end was also visible when segmenting sales by price
remained the top-selling artist as he has been for level. Works sold for over $1 million increased their Share of sales Volume Value
the last three years, with sales of $235 million, down by share of value marginally (up 2% year-on-year to 56%
around one third on 2019. Picasso had two in the in 2020), but with a larger increase at the very highest 40%
35%
top five highest priced lots in 2020, Femme dans un end, with works for over $10 million advancing 5%
30% 29% 28%
Fauteuil (1941) selling for $29.6 million and Les Femmes in share year-on-year to 23%. Sales of works priced less
d'Alger (version 'F') (1955) for $29.2 million, both under than $1 million fell 26% on aggregate year-on-year, 23% 23%
20% 19%
guarantees at Christie’s New York. but in this highest segment of $10 million-plus, the
13%
decline was only 5%.
The second-highest-ranking artist in terms of aggregate 10% 10%
10%
sales was Zhang Daqian (also in second place in Despite these high prices, most works (92%) sold 6%
2% 2%
2018 and 2019), while San-Yu ranked third and had the for prices below $50,000 and these accounted 0.3% 0.5% 0.1% 0.05%
0%
highest priced lot of the year in this sector, Quatre for 12% of Modern art auction sales. The majority Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m
Nus (1950s), which sold for $33.1 million at Sotheby’s (64%) of lots sold were at prices less than $5,000,
Hong Kong and also the second-highest-ever price although these accounted for a very small share of
for the artist, with a record price of $39.1 million just 2% of total sales values, stable on 2019.
achieved the previous year when Five Nudes (1959)
Strong sales in Hong Kong ensured that Christie’s and
sold for $39.1 million at Christie’s Hong Kong.
Along with Fu Baoshi and René Magritte, these top

Sotheby’s still accounted for a majority share of
the market in 2020, with a combined 55% of the total
The top 20 artists in the Modern art sector
five artists accounted for 41% of the market by sales by value, and along with China Guardian, Poly accounted for 70% of sales by value, significantly
value, while the top 20 artists accounted for 70%, Auction, and Huyai International, the top five auction
significantly more concentrated than in 2019 houses made up a 77% share (up 9% year-on-year). more concentrated than in 2019
(at 59%), and showing a much greater concentration
of values around top artists than in Post-War and
Contemporary art.
3.6 | Impressionism and Post-Impressionism Although the largest number of works were sold Figure 3.27 | Impressionist and Post-Impressionist Auction Sales 2009–2020
From being the largest sector in the market over 30 in the US (24%), Greater China took over as the largest
years ago, Impressionist and Post-Impressionist market by value of sales, with a share of 33%. Sales Billion $ Value Volume Volume
art has been overshadowed in recent years by Modern in Greater China have declined for three years in a row,
and Post-War and Contemporary sales in terms but it still edged ahead of the US with a slightly $3.0 60,000
of aggregate values, and accounted for 10% of fine art smaller decline year-on-year of 16% to $292 million.
$2.5 50,000
auction sales values in 2020 (down 5% in share Sales were down over 70% from a decade earlier
year-on-year), with 12% of the volume of global fine but still significantly above 2009, at the start of China’s
$2.0 40,000
art lots. market boom ($184 million). The top highest-selling
artists in this sector in 2020 were Chinese artists
This is a highly supply-driven market and it experienced $1.5 30,000
including Qi Baishi, with over $140 million in sales,
one of the largest contractions in sales of all sectors in $2.4
Huang Binhong, and Wu Changshou. These three $2.3 $2.2
2020, as the number of high-end lots fell dramatically. $1.0 $2.0 $1.9 20,000
artists accounted for just under one third (32%) of the $1.8 $1.8
At the low point of the previous recession, sales $1.6 $1.6
value of sales. $1.3
declined to $1 billion in 2009, as supply at the high $0.5 $1.0 $0.9 10,000
end contracted during the global financial crisis. The The US market’s share dropped significantly from
market recovered quickly, reaching its peak of $2.4 45% in 2019 to just 29% in 2020. It was the market’s $0
0 0
billion in 2011, buoyed by a booming Chinese market. second year of declining sales, which fell 68% 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
As the Chinese market cooled, values declined year-on-year to $255 million in 2020, with over 2,000
significantly, and the market had relatively stagnant less lots sold. The market reached its lowest level © Arts Economics (2021) with data from Artory
sales to 2016. A sharp rise in sales over 2017 brought in 15 years and fell below its previous recessionary low
sales to near-peak levels of $2.3 billion, but this of $420 million in 2009. Despite this significant
was not sustained and sales fell for the next three
years, including their most substantial annual decline
aggregate decline, there were still several very high
value lots sold in New York over the year, including
Impressionist and Post-Impressionist
in 15 years of 51% in 2020 to $870 million. This the highest priced lot in the sector, Paul Cezanne’s art sales experienced their most substantial annual
was one of the largest declines of all fine art sectors, Nature Morte avec Pot au Lait, Melon et Sucrier
bringing the market to its lowest level in 15 years, (1900-1906), which sold under guarantee at Christie’s decline in 15 years of 51% in 2020
with values 11% below the recession of 2009 and one for $28.6 million, and Vincent Van Gogh’s Fleurs dans
third less lots sold. un Verre (1890) for $16 million at Sotheby’s (also
under guarantee), the third-highest-priced lot in the
sector in 2020.
Figure 3.28 | Market Share of the Impressionist and Post-Impressionist Sector in 2020 Figure 3.29 | Sales in the Impressionist and Post-Impressionist Sector 2009–2020: Key Markets
a. Market Share by Value b. Market Share by Volume Million $ Greater China France UK US EU
Others 10% $1,200

Switzerland 3% US 24%
$1,000
France 6% Greater China 33% Others 31%
$800
$600
UK 19% $400
Greater China 13%
Germany 7% $200
$0
France 12% UK 13%
US 29% 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
The UK was one of the only markets to see growth London in this sector, including two of the top five in EU sales (by 51%) to $284 million, down 32% on its sector given the market turmoil of 2020. High value
in sales in 2019, with an increase of 21%, but its highest prices: Camille Pissarro’s Gelée Blanche, Jeune previous low point in the recession of 2009. As sales lots sold for over $1 million went from accounting
performance aligned again with the other top-tier Paysanne Faisant du Feu (1888) sold for $17.3 million in all regions declined, the EU maintained a fairly stable for the majority of sales in the sector in 2019 (at 60%)
markets, and values fell substantially by 61% to and Paul Signac’s La Corne D’Or. Matin (1907) for $9.9 global share of 33% in 2020 (or 13% without the UK). to just 43% by value in 2020. In 2019, the largest
$168 million in 2020. Like the US, this also brought the million, both above their high estimates and without segment by a significant margin was sales priced over
Unlike other sectors that had relatively few changes
UK market to its lowest level in over 15 years and guarantees in ‘pre-pandemic’ sales in February at $10 million (accounting for 30% of values), however,
in the distribution of prices year-on-year, sales in the
sales values were down 29% from the previous Sotheby’s. this fell dramatically in share to just 7% in 2020,
Impressionist and Post-Impressionist segment saw a
market low in 2009, when the market fell to $237 as much fewer top lots were sold and sales in this top
Sales in France fell by 30% to $49 million, also the large drop in the share of values accounted for by the
million. The UK’s global share fell 6% year-on-year to price segment fell 88% in value (versus a drop of 28%
lowest level in over 15 years. The decline in these two highest end, indicating significant pressure on supply,
19%, but it remained the third-largest market. There for works priced at less than $1 million).
major European markets ensured a significant drop with vendors possibly hesitant to risk sales in this
were still some very highly priced works sold in
158
Figure 3.30 | Sales by Price Bracket in the Impressionist and Post-Impressionist Sector in 2020
Share of sales Volume Value
40%
34%
31%
30%
26% 26% 26%
20% 18%
11% 10%
10% 7%
6%
2% 2%
0.4% 0.5% 0.05% 0.01%
0%
Mid-tier works accounted for the largest share of accounting for 68% of sales versus 70% in 2019.
sales, with those between $250,000 and $5 million It has escalated more significantly over time though,
making up just over half (52%) of the value of sales, from just 17% in 2017.
but still, as in previous years, most lots (91%) were
Sotheby’s and Christie’s were again the leading auction
sold at prices less than $50,000.
houses in the sector in 2020 and accounted for half
The top five selling artists in this sector in 2020 the value of works sold. However, this share was
(Qi Baishi, Huang Binhong, Wu Changshou, down 18% on 2019 as some of the major auction houses
Paul Cezanne, and Vincent Van Gogh) accounted for in Mainland China gained ground. Along with China
40% of sales by value. The concentration of this Guardian, Poly Auction, and Bonhams, the top five
sector is greater than in Post-War and Contemporary, auction houses accounted for 71% of the value of sales
but declined slightly in 2020, with the top 20 artists in the sector (down 5% year-on-year).
Figure 3.31 | Old Masters Painting Sales 2009–2020
a. Sales of All Old Masters Value Volume b. Sales of European Old Masters Value Volume
Million $ Volume Million $ Volume
$2,500 50,000 $1,000 25,000
$2,000 40,000 $800 20,000
$1,500 30,000 $600 15,000

$977
$2,134 $838
$1,000 20,000 $400 $737 $764 10,000
$1,642 $1,625 $661 $705
$1,580 $1,552 $633 $594
$1,299 $1,367 $1,316 $561
$480
$500 $1,051 $941 $843
10,000 $200 $390 5,000
$759 $282
0 0 0 0
2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
3.7 | Old Masters and European Old Masters

Old Masters accounted for 9% of the fine art auction
market has been influenced by Chinese Old Masters
sales in recent years and in 2020, eight out of 10
Old Masters accounted for 9% of fine art
market by value in 2020, up 2% year-on-year but of the top-selling artists in the sector were Chinese auction sales by value in 2020, up 2%
remaining the smallest of the fine art sectors. It also artists. These top-selling artists along with other sales
had the lowest volume of sales, with a stable by non-European artists meant that the share of year-on-year but remaining the smallest
year-on-year share of 7% of global volumes. This European Old Masters dropped significantly in value, of the fine art sectors
sector covers works sold by artists of all nationalities from just under half (46%) of market by value in
born between 1250 and 1820, although the term 2019 to 37% in 2020 (despite still accounting for over
‘Old Masters’ is most commonly associated with the 70% of the number of lots sold).
works of European artists. The wider Old Masters
Sales of all Old Masters works fell more moderately Vinci lot Salvator Mundi (c.1500) for $450 million, Table 3.2 | Global Market Share: Old Masters Paintings in 2020
than some of the other fine art sectors, with a decline without which sales would have actually fallen. This
of 10% year-on-year to $759 million, while the market has fallen in value by over 60% in a decade, Old Masters European Old Masters
number of lots sold fell by 23%. The sector peaked in primarily due to the very thin supply of high-quality Share Share Share Share
2011 at $2.1 billion at the height of the boom in China, works in circulation, which limits growth despite Market of Value of Volume Market of Value of Volume
but apart from a few outlier sales, has seen fairly strong demand. This demand is evident when rare, Greater China 58% 19% US 37% 17%
stagnant and declining sales since then, and in 2020 high-quality works come on to the market, such US 16% 17% UK 36% 23%
reached its lowest level in over 15 years after four as the Leonardo Da Vinci sale at Christie’s New York UK 15% 18% Germany 8% 16%
consecutive years of declining values and volumes. in 2017, which can temporarily boost the market. Germany 3% 12% France 7% 13%
France 3% 10% Austria 6% 9%
Another more recent example was the sale, in early
Values in the European Old Masters sector also Others 5% 24% Others 6% 22%
2021, of Sandro Botticelli’s Young Man Holding a
reached their lowest level in more than 15 years in
Roundel (1480) for $92.2 million at Sotheby’s in New © Arts Economics (2021) with data from Artory
2020, declining 28% in value from 2019 to $282
York in January 2021, the second-most-expensive
million, while the number of lots sold also dropped
Old Master work ever sold. However, the scarcity of
20%. This is the third year of declining sales in this
these masterpieces in commercial circulation means As noted above, sales of Chinese artists’ works increase of 162% year-on-year driven solely by
sector, from a peak in 2017 of $977 million, due to the
that this market remains often at a lower level than have been an important part of this sector for the last the one extremely highly priced Leonardo da Vinci lot
presence of just one outlier sale, the Leonardo da
other more contemporary sectors. decade, and in 2020, the highest selling artist was (without which sales would have declined by 21%).
Ming Dynasty artist Wu Bin, with sales of $77 million, The US maintained a stable share of global
Greater China was the largest market for sales in the
European Old Master sales wider Old Masters sector in 2020, with a share of 58%,
and the majority of value from the sale of one lot,
the highest price lot of the year Ten Views of a Lingbi
transactions at 17% but its share of value fell by 5% to
16%, making it the second-largest market by value.
have fallen by over up 10% on 2019 and accounting for 19% of lots sold.
After a strong increase in sales of over 40% in 2018,
Rock (1610) selling for a record of $76.6 million at
The UK fell back to third place in the wider Old Masters
Poly Auction in Beijing. Ren Renfa’s late 1200s / early
60% in a decade, primarily sales were stagnant in 2019, but ran contrary to
1300s work Five Drunken Princes Returning on Horseback
sector, with its share by value declining to 15%. Sales
trends in other sectors and regions by advancing 10% fell for a third consecutive year by 26% to $114 million,
due to the very thin in 2020 to reach $441 million, boosted by a small
also sold for $39.6 million, the second-highest price
their lowest level in 15 years, and less than half the
in the sector at Sotheby’s in Hong Kong.
supply of high-quality works number of very highly priced lots. Sales were still less
than half the level of the peak in 2011 when they Sales also fell in the US Old Masters auction market
value of sales in 2005. After going against the declining
trend in 2019 with a substantial increase of 30%
in circulation had reached $1.1 billion, but have grown to almost 10 by 29% to $124 million, the lowest level in 15 years. year-on-year, sales in France fell to half their size in
times their size since 2005 ($46 million). Sales reached a peak in 2017 of $646 million, an 2020 ($21 million), their lowest level in 15 years and
just 20% of their peak values in 2011. The poor by value and the top 20 accounted for 55%. Again, like Figure 3.32 | Sales in the Old Masters Sector 2009–2020: Key Markets
performance of these two major markets meant that some of the other sectors, there was an increase in
EU sales as a whole fell for the fourth consecutive concentration year-on-year, with the value accounted a. Sales of All Old Masters Greater China France UK US EU
year (by 28% to $181 million) and its global share for by the top 20 increasing in share by 19% on 2019.
Million $
dropped to 24% (or 9% without the UK) versus 71%
This was also the case in the European Old Masters
in 2005. $1,400
sector, where the top five artists (Rembrandt
$1,200
In the European Old Masters sector, sales in all of Harmenszoon van Rijn, Andrea Mantegna, Canaletto,
the major art markets fell year-on-year. The US was Bernardo Bellotto, and Peter Paul Rubens) accounted $1,000
the largest market by a small margin from the UK, for 29%, with 54% of values attributable to sales of $800
with 37% of sales by value. Sales in the US fell 29% to the top 20 artists (up 16% from 2019). The top-selling $600
$105 million, with a similar decline of 30% in the UK European artist Rembrandt Harmenszoon van Rijn $400
to $102 million. The UK accounted for more than half had total sales of $21.6 million, with most of the value
$200
the value of sales in 2014, but has lost share to the coming from one lot, Self-Portrait of the Artist,
$0
US for the last two years, and sales in the UK market Half-Length, wearing a Ruff and a Black Hat (1632), the
2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
have declined by 70% over 10 years (versus a highest priced European Old Masters lot of the year,
drop of 38% for the US). Both of these largest markets selling for $18.8 million under guarantee at Sotheby’s
b. Sales of European Old Masters
are at their lowest levels in 15 years. The EU accounted in London. Sotheby’s sold four of the five top lots of
for a larger share of this sub-sector of the Old the year, with the second highest in New York, Million $
Masters market, with 60% of the value of sales, which Andrea Mantegna’s 15th century drawing entitled The
$700
was relatively stable year-on-year, but has fallen Triumph of Alexandria for $11.6 million.
over time from 80% in 2005. Considered without the $600
These high value lots boosted the share of sales in
UK, the EU accounted for 24% of European Old $500
the high end of the market in 2020. In the wider Old
Masters sales by value. $400
Masters sector, works selling for over $1 million
Many of the higher priced works sold in the wider accounted for 54% of the value of sales (in less than $300
sector in 2020 were by Chinese Masters, including four 1% of lots sold), up 6% year-on-year. Most of this $200
of the five top-selling artists (Wu Bin, Ren Renfa, Dong increase came from the substantial boost to the over $100
Qichang, Rembrandt Harmenszoon van Rijn, and Qian $10 million segment, which accounted for 24% of $0
Weicheng). These artists accounted for 31% of sales the value of the market in 2020, the largest segment 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020

Figure 3.33 | Sales in the Old Masters Sector by Price Bracket in 2019
a. Share of Sales - Old Masters Volume Value b. Share of Sales - European Old Masters Volume Value
40% 40% 37%

34%
31%
30% 30% 29% 28%
25% 24% 23%
20% 21%
20% 20% 18% 18%
16%
14%
10% 10% 11%
10% 9% 10%
7%
5%
2% 3%
2% 1%
0.2% 0.5% 0.1% 0.05% 0.5% 0.2% 0.05% 0.02%
0% 0%
Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m $1m–$5m $5m–$10m Over $10m
by value, and up from 10% in 2019. While all other

price segments in the sector declined in value, sales
and all segments above and below $1 million
experienced declining sales. The largest segment by
Auctions) accounted for close to 80% of sales values
(up from 71% for the top five in 2019). Sotheby’s
While all other price
in the $10 million-plus segment doubled year-on- value in this sub-sector was those works sold for also led in the European Old Masters sector, and the segments declined in value,
year, despite only a marginal increase in the number prices between $250,000 and $1 million (23%), combined share of Christie’s and Sotheby’s was at
of lots sold. although most lots (94%) were sold at prices less 74% by value. With the other three top-selling auction Old Master sales in the
This was not the case in the European Old Masters
than $50,000. houses (Lempertz, Dorotheum, and Bonhams), the $10 million-plus segment
top five auction houses accounted for 87% of the value
sector. Although there was a slight increase in share
in the $10 million-plus segment (from 8% of value in
Sotheby’s was the largest auction house by value of
sales in the wider Old Masters segment, with a share of
of sales and 45% of volume, both relatively stable doubled year-on-year
on 2019.
2019 to 11% in 2020), the share of $1 million-plus 25% of sales. The top five auction houses (Sotheby’s,
works actually declined year-on-year (by 4%) to 39%, Christie’s, Poly Auction, China Guardian, and Yongle
3.8 | Conclusions The temporary closure of businesses and cancellation particularly in the Post-War and Contemporary While the larger houses such as Christie’s, Sotheby’s,
2020 was a challenging year for all sectors of the of many live auctions meant a significant reduction in and Modern sectors, were sold under third-party and Phillips openly publish all of their online
auction market, with the value and volume of sales the opportunities for sales in 2020 in the public guarantees. However, these and other practices sales, some other auction houses still persist in the
falling across the board. Unlike other recessions auction sector. This was combined with the fact that deployed to secure vendors have, in some cases, opaque and regressive practice of obscuring online
where there was a notable decrease in the share of some buyers were less engaged with the art market in significantly eroded margins, forcing some businesses sales results. This has a significant, negative
top-selling lots, in 2020, there were indications the face of more immediate business, personal, or to cut back in other areas and focus on cost-cutting side-effect for the market of obscuring prices in lower
of greater concentration around top artists in some health concerns as vendors were cautious, perceiving measures. This may be another reason why it is priced segments at auction, with this sector still
sectors, although those that lost share at the top it as a poor time to sell. As has been the case in likely that some larger houses could shift more lower the only publicly available barometer of individual
end saw some of the greatest declines in value. the past, the shift from public to private sales reflected end sales online in the future and the focus to live transaction prices that are critical for the valuation
risk aversion and uncertainty, with vendors enticed sales and marketing on high-end works. of individual works.
With margins under increasing pressure and the
out of the public arena and into the security of
costs of premises and staffing so high, traditional
private sales, which increased substantially in many
auctioneering and dealing in the middle to lower ends
of the market had already become less feasible,
of the major auction houses. While this was clearly
beneficial to auction businesses, it raises concerns as
Online channels were especially successful
moving lower value sales online. This trend escalated
in 2020, and most in the sector feel that the future
more sales shift out of public view and the important in reaching new buyers in the auction
price transparency that is critical for art valuation
for auctions, apart from those at the high end, will
becomes more opaque. sector, a trend that spanned both top-tier
continue to consolidate online.
At the high end of the market, the auction sector and second-tier houses in 2020
Online channels were especially successful inreaching
has the advantage of providing transparency as well
new buyers in the auction sector, a trend that spanned
as the potential for unexpected upside for vendors.
both top-tier and second-tier houses in 2020. While
While this is a great attraction in buoyant markets,
this is crucial for maintaining and growing sales, some
that transparency poses significant risks in market
auction houses have noted that this development is
downturns as prices and failures to sell are in the
not without challenges: the influx of new bidders who
public domain.
are not used to how auctions operate, the contractual
aspects of bidding, and their fee structures can also Another attraction of the auction sector has been the
mean a rise in procedural and legal misunderstandings ability to entice vendors through providing financial
leading to reduced repeat buying or even defaulting assistance. As noted throughout the chapter, many of
buyers. the most expensive lots sold at auction in 2020,
Art Fairs
172 4 | Art
1 | The Global Art Market in Fairs
2019 173
Key Findings
Art Fairs 1. Of 365 global art fairs planned for 2020, 61% were 5. Despite the high number of events being cancelled,
cancelled, 37% held live events, and the remaining 2% 41% of high net worth (HNW) collectors surveyed
of fairs held a hybrid, alternative event. reported that they made a purchase at an art fair in
2020, while 45% reported making one through an
2. A survey of 138 art fairs revealed that the majority art fair’s online viewing room.
(62%) offered an online viewing room (OVR) or digital
version of their fair in 2020. 6. Just under half (48%) of the HNW collectors surveyed
said they would be willing to go to a local or international
3. The share of art fair sales from live events declined art fair in the first six months of 2021, although 64%
dramatically in 2020, accounting for just 13% of would be ready to attend local events. The majority of
dealers’ total sales, with an additional share of 9% collectors (68%) reported that they would be happy
made through art fair OVRs. to attend any fair by the end of Q3 2021, and over 80%
into Q4.
4. Art fair costs were reported as the single largest
component of total costs for galleries in 2019, accounting
for 26% of total operating costs. The significant
reduction of live events in 2020 brought this outlay
down to just 16%, while the costs of travel were also
reduced (from 7% to 4%).
174 4 | Art Fairs 175
4.1 | Art Fairs in 2020

With the majority of major art fairs and other key
The majority of major 4.2 | Art Fair Calendar and Cancellations in 2020
To assess the changes to the art fair calendar in 2020,
Figure 4.1 | Share of Global Art Fairs (Live Events)
Cancelled in 2020 (365 Fairs)
events cancelled in 2020, the future of art fairs art fairs dating from a database of 365 art fairs around the world was
became one of the most debated topics in the art analyzed, which included most of the major fairs of
market. Art fairs have become increasingly important mid-March were cancelled, fine art, decorative art, and antiques, the majority of
Live alternatives 2%
to the market over the last 20 years, with an with a dramatic reduction which had an international element in their programs.
expansion in both the number of events as well as This revealed that 61% of global art fairs planned Live art fairs
their share of dealers’ annual sales. In the gallery in sales that were for 2020 were cancelled, and 37% held live events.
37%
sector, fairs have been a central part of the livelihoods

of many businesses, providing sales as well as a key
not compensated for by Of those events that went ahead during the year, one
quarter were held on rescheduled dates and the
point of outreach to new and existing collectors from digital alternatives remainder went forward as planned (with many in Cancelled art fairs
diverse geographical locations. Along with major the first quarter of the year before COVID-19 61%
auction sales and exhibitions, art fairs have also come lockdowns). The remaining 2% of fairs held a hybrid,
to determine the structure and geographical layout other concerns. Heading into 2020, these issues alternative event such as a smaller, modified live
of the annual calendar for collectors, as well as acting had led some dealers to reduce the number of fairs event, an appointment-only fair in another venue,
as the entry point for buyers, providing introductions they attended and to consolidate their efforts or some other decentralized event held across © Arts Economics (2021)
to artists, galleries, and the art market in general in one around the events that provided the best returns or different locations within a city or region.
central location. the most international outreach.
Along with their benefits, art fairs also came with However, the spread of the pandemic over the course
While nearly all the cancelled fairs were called off due
to COVID-19, there were some forced to close due
61% of global
high direct and opportunity costs for dealers. of 2020 was an unprecedented shock for the market. to other exceptional issues, such as a major explosion art fairs planned for 2020
The mass international transit of objects and people The majority of major art fairs dating from mid-March in Beirut, which forced the closure of Beirut Art Fair’s
to and from events has also been one of the biggest were cancelled during the year, with a dramatic 2020 September edition, and political protests were cancelled
areas of environmental impact generated by the art reduction in sales from this channel that were not that led to the cancellation of ART X Lagos November
market. The art fair infrastructure was already compensated for by the digital alternatives. While fair in solidarity with the #EndSARS protests against
under significant pressure in 2019, with cancellations this meant significant losses for many galleries, the police brutality in Nigeria. However, the majority of
and postponements of some events unrelated involuntary pause in the often frenetic calendar events cancelled in 2020 were due to COVID-19-related
to COVID-19, as well as debates over the density of of events also gave these businesses (and collectors) regulations banning large-scale events, logistical
the calendar, the costs of exhibiting and the pressure the chance to reflect on the role of art fairs and challenges, travel bans that made it necessary and
this puts on smaller and mid-size businesses, the review how their strategies in this area might evolve unavoidable for fair organizers to suspend these
suitability of the art fair context for exhibitions, and in future. events, or preventative measures by the fair organizers
to protect public health and safety.
176 4 | Art Fairs 177
Figure 4.2 | Fairs Held and Cancelled and Monthly Cancellation Rates in 2020 (365 Fairs) Figure 4.3 | Fairs Held and Cancelled and Cancellation Rates by Region in 2020 (365 Fairs)
No. of fairs Held Cancelled Cancellation rate Share No. of fairs Held Cancelled Share Cancelled Share
cancelled cancelled
100% 100%
50 100% 200 100%
80% 82% 78%
40 76% 80% 160 75% 80%
73% 73%
67% 66%
60% 61% 58% 57%
30 60% 120 60%
48%
20 40% 80 40%
10 20% 40 20%
10%
3%
0 0% 0 0%
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec North America Europe Asia Oceania South America Africa
The cancellation of major fairs related to the pandemic hit many regions in Europe and North America. 82 major events in the US did not take place. of staging these events. It seems likely that Asia will
began in March 2020, starting with the cancellation Although only 10 fairs in this sample were scheduled The lowest cancellation rates were in South America, also lead the timeline of live events in 2021, and many
of Art Basel Hong Kong, the largest fair in Asia. While in December, the final month of 2020 had the with eight of the 14 fairs recorded going ahead, while dealers felt that they might be the only fairs that go
some events were still taking place in March in highest cancellation rate, with all fairs cancelled from at the other extreme all major fairs were cancelled ahead until the second half of the year. Even within
Europe, notably TEFAF’s Maastricht edition that was their original formats (and six proceeding as online in Australia and New Zealand. Within Asia, China fared Asia, major events have been postponed at the outset
subsequently forced to close four days early due or hybrid events). somewhat better than the other major art markets, of 2021, with Art Basel Hong Kong rescheduled to
to the COVID-19 outbreak, April saw the highest level despite being one of the first to begin cancellations. May and Taipei Dangdai postponed to July. At the time
There were few regions spared from event
of absolute cancellations (37 events). While there Several successful fairs were held in the last quarter of publication, many foreign travel restrictions are
cancellations, with more than half of the fairs across
were less cancellations (and less events scheduled) of the year, including Shanghai’s Westbund and Art021 still in place, meaning that many of these events may
all continents cancelled during the year. In Europe,
over the summer months, 30 or more events were fairs in November, where anecdotal reports from be limited to regionally-based collectors and
where there were close to 180 events planned
also cancelled each month in September, October, and dealers indicated relatively strong sales and high prices exhibitors.
for the year, 61% were cancelled, while 66% of the
November as second and third waves of COVID-19 despite the logistical complexities
178 4 | Art Fairs 179
Figure 4.4 | Share of Art Fairs Holding Although the majority of live events were cancelled While some fairs created their own digital initiatives, Figure 4.5 | Share of Enquiries
Online Editions in 2020 (365 Fairs) during the year, many art fairs held online others partnered with external platforms to realize at Online-Only Artsy-Hosted Fairs (69 Fairs)
alternatives. Prior to 2020, some of the major art fairs online events. Artsy partnered with 69 fairs and
Share of fairs Online edition No online edition had already launched online viewing rooms (OVRs) events in 2020, including running online-only events No price specified 10%
to coincide with their physical, live editions. Across all for fairs such as Art Cologne, Photo London, the
100% Under $10k
of the 365 fairs, 38% offered OVRs or some form International Fine Print Dealers Association annual 28%
of virtual fair in 2020. The rate was higher (at 44%) for print fair, and Masterpiece London. Artsy reported Over $100k
those whose events were cancelled, while 56% of that these 69 events generated over three million 20%
80%
62%
56% the fairs that cancelled their live events in 2020 chose page views, over 300,000 unique visitors, and 24,000
71% not to hold an online alternative. It is notable purchase enquiries on artworks posted, all their
60%
that of those fairs that managed to hold live events, highest ever levels for their art fair online partnerships.38
29% also had OVRs to coincide with the fairs. Some Figure 4.5 shows the breakdown by price level of $50k–$100k
40% fairs also advanced other online initiatives that the enquiries made across all 69 fairs. 90% of these 11%
$10k–$50k
were not tied to their live events. Art Basel launched were on works that had a price or price range specified, 31%
20% 38%
44% two stand-alone digital events: OVR:2020 (held in underlining the importance of price transparency
29%
September and focusing on works created in 2020) for galleries participating in fairs on Artsy. Of those © Arts Economics (2021)
and OVR:20c (in October, featuring works created in with prices, just under half (46%) of the enquiries
0%
All fairs Cancelled fairs Held fairs the 20th century). Each edition had 100 galleries were for works posted with prices less than $25,000,
and ran for four days, with exhibitors charged a flat although demand was relatively well distributed,
fee for participation. with 20% related to works in excess of $100,000.
Across all fairs, 90% of enquiries at art fairs on Artsy

38% offered OVRs or some form were on works that had a price specified, underlining
of virtual fair in 2020 the importance of price transparency
38 Information thanks to Artsy, 2021. Artsy began organizing online art fairs in 2012, having organized over 475 fairs since that date.
180 4 | Art Fairs 181
4.3 | Art Fair Survey 2020 Most of the replacement OVRs were made available Figure 4.6 | Share of Works Offered on Art Fair OVRs in 2020 (138 Fairs)
To investigate the impact of the pandemic on fairs for free to exhibitors, although some fairs started
further, Arts Economics also directly surveyed a charging exhibitors for their online-only events a. Share of Total Value of Works for Sale b. Share of Total Number of Works for Sale
sample of large and mid-level fairs in late 2020 with as 2020 progressed. Art Basel’s art fair OVRs were free
a short series of questions on their status, generating to exhibitors in the first half of the year, however, 35% 34% 35% 33%
responses from 138 fairs. From this sample, 37% the two alternative online-only events were subject
30% 30%
of the events took place as scheduled, and 7% took to a uniform exhibitor fee (of CHF 5,000 or around
place but at an alternative date. For those fairs that $5,500), as was the Art Basel Miami Beach OVR in 25% 25%
held events in 2020, exhibitor numbers were December (of CHF 3,000/$3,300 or CHF 6,000/$6,600 21% 21%
relatively stable, only dropping by 4% on average, with depending on the section). Similarly, the online-only 20% 18%
20% 18%
a majority (58%) of galleries taking part being local event run by Frieze in September also charged 15%
15% 15%
to the location or market where the fair took place. exhibitors between $1,915 and $6,250 to exhibit, while 12%
10% 10%
Just over 40% of those fairs held in 2020 had more their May online event was run without charges. 10% 10% 8%
than 70% local galleries. Visitor numbers were down
In 2020, visitors to fair OVRs averaged 100,000 per 5% 5%
significantly for many respondents, with a decline
event, while the average number of exhibitors was 83
of 30% on average. While the majority of fairs saw
(ranging from 30 to 300 in the sample). These OVRs 0% 0%
declining visitor numbers, 28% increased, with Under $500k– $1m– $10m– Over 0– 101– 501– 1001– 2501– Over
also had a significantly more international dimension $500k $1m $10m $100m $100m 100 500 1000 2500 5000 5000
nearly all of these taking place in the first quarter of
than the live events, with just 47% ‘local’ exhibitors,
the year prior to the initial pandemic lockdowns.
that is exhibitors from the location or market where the © Arts Economics (2021)
The significantly higher share of these fairs (62%) fair was organized or their offline event usually held.
offered an OVR or digital version of their fair in 2020.
Although it is difficult to make meaningful comparisons
Most fairs offered some alternative to their online
event at or around the scheduled time of the event,
given the vastly different nature of the programs of
works in excess of $100 million for sale. The largest
segment was in the range from $1 million to $10
Visitors to art fair OVRs
with fairs such as Art Basel also offering additional
fairs in the sample, the aggregate value of works offered
on these OVRs ranged from $100,000 to over
million. The number of works on offer also varied in 2020 averaged 100,000
OVRs outside of these periods. While some fairs did considerably from less than 20 to 5,500. The average
not offer OVRs at the time of their events in 2020,
$550 million per event. One third of the respondents
was just over 1,500 works for sale and a third per event
reported that the total value of works offered on
nearly all will offer online options or viewing rooms of the sample had between 1,000 and 2,500 works.
their OVRs were less than $1 million, while 15% had
in 2021.
182 4 | Art Fairs 183
Figure 4.7 | Share of Works Offered on Art Fair OVRs by Price Segment
Works with prices Figure 4.8 | Art Fairs’ Future Plans for Live
and Online Events in 2021
Share of works All fairs Top fairs generated 92% of all
Only online No fair
60% 58% enquiries, demonstrating 4% 2%
Live event
50% the importance of 23%
40%
33% visible pricing in connecting
30% 25% 24%
19%
with collectors
20% 16%
10% 8%
5%
8% Fairs reported that 70% of the queries from
4%
visitors to the OVR were for works priced at $50,000
0%
Under $10k $10k–$50k $50k–$250k $250k–$1m Over $1m or less, and 14% for those priced over $100,000. Live and online
71%
Works with prices generated 92% of all enquiries,
demonstrating the importance of visible pricing
in connecting with collectors.
Looking forward to 2021, although the future art fair

83% of works Most fairs (71%) required that galleries listed prices or
price ranges on their OVRs. In the 29% that did not
calendar is still subject to a number of uncertainties,
most fairs (94%) hope to hold a live event in 2021,
Although the future
offered on OVRs were for have that stipulation, 20% of works on offer were listed and the majority of those will run both live and art fair calendar
without prices. Figure 4.7 sets out the share of works online versions of their fairs. A small number of fairs
prices less than offered on art fair OVRs by price range for all fairs in have planned to solely run online-only events, is still subject to a number
$50,000, and only 5% the sample and a smaller selection of top fairs.39 and 2% reported that they would have no fair at all of uncertainties,
Across all fairs, the majority (83%) of works offered on in 2021. None reported specifically that they were
for over $1 million OVRs were for prices less than $50,000, and only 5% permanently closing, but it is likely that the number most fairs hope to hold a
for over $1 million. Even for top fairs, only 8% of works
were offered at prices over $1 million, and the majority
of fairs may diminish in future, or that some will
adjust their size and composition, as galleries revisit
live event in 2021
(57%) were in the range from $10,000 to $250,000. their strategies and focus in the coming years.
39 Price ranges for top fairs are based only on those supplied or analysed directly from Art Basel, Frieze, and TEFAF.
184 4 | Art Fairs 185
4.4 | Impact on Gallery Exhibitions in 2020 Dealers surveyed in 2020 reported that in the Figure 4.9 | Average Number of Gallery Exhibitions in 2020
The cancellation of art fair participation by galleries previous year (2019), they had held an average of
was part of a general retreat from live and in-person seven exhibitions, ranging from six for smaller No. of exhibitions Held Cancelled
exhibitions and events, including those taking place businesses with turnover less than $250,000 to nine
in galleries and other institutions. Due to the various for those with sales in excess of $10 million. At the 12
restrictions imposed in most countries in response start of 2020, dealers had a similar or more ambitious 10
to the COVID-19 pandemic, most dealers (93% of those number of exhibitions planned (with an average 4
8
surveyed by Arts Economics at the end of 2020) of eight), but close to 40% of these were cancelled
3 3
had to close their premises for a period of the year during the year due primarily to the COVID-19 6
3 3 3
(with an average closure period of three months). pandemic. On average, dealers went from their eight 4
This resulted in the cancellation or postponing of planned exhibitions at the start of 2020 to a revised 5
7
5
2 4 4 4
exhibitions, as well as the alteration of gallery program of five.
operations once businesses reopened (as discussed 0
The average number of exhibitions cancelled ranged Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All dealers
in Chapter 2). Most of the collectors that would
from three, up to four on average for the largest
have attended exhibitions were also restricted from
galleries with turnover in excess of $10 million. This
travelling and were subject to varying lockdown © Arts Economics (2021)
average was also fairly consistent between regions,
measures that prevented them attending in-person
with a slightly higher average in South America (four
exhibitions. As these were lifted or reduced
exhibitions cancelled) and Oceania (five).
throughout the year, the circulation of foot traffic at
galleries and cultural institutions was slow to revive
40% of dealers’ planned exhibitions
in many places as restrictions on capacity were were cancelled in 2020 due primarily to the
maintained alongside risk-averse and safety-conscious
consumers who remained cautious and adapted COVID-19 pandemic
their behaviors.
186 4 | Art Fairs 187
Figure 4.10 | Average Number of Gallery Exhibitions in 2019, 2020, and Planned in 2021 Looking ahead to 2021, the impact of the pandemic its ensuing financial crisis has necessitated a
on future exhibition programs appears to be relatively stronger focus of cost-cutting by galleries, with some
No. of exhibitions 2019 2020 2021 modest but sustained. Although many galleries had galleries noting that they would be eliminating
reopened by the end of 2020, most planned to hold some exhibitions in an attempt to concentrate
10 slightly fewer exhibitions in 2021 than they had resources on key artists and shows that they believe
9 9
in 2019, with the average dropping from seven to six. will deliver the best results in 2021, or are the
8
7 7 7 7 While the rollout of vaccinations began in most most crucial to their programs. Some also predicted
6 6 6 6
6 regions in early 2021, exhibition programs for at least that there will be continued vigilance towards
5 5
4 4 4
the first half of the year are likely to be subject to the restricting physical interaction and plan to alter the
4
prospect of further government-imposed lockdowns way exhibitions are held, limiting capacity, continuing
2
and other restrictions on capacity as future waves to rely on viewing by appointment, restricting or
of the virus and its variants continue to be contained. cancelling opening nights, and using soft launches.
0 It is likely also to be the case that the pandemic and
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
Some dealers plan to alter the way exhibitions are

held, limiting capacity, continuing to rely on
viewing by appointment, restricting or cancelling
opening nights, and using soft launches
188 4 | Art Fairs 189
Figure 4.11 | Average Number of Art Fairs in 2020
a. Number of Live Fairs Cancelled and Attended Fairs cancelled Fairs attended b. Number of Live and Online Fairs Attended Live events OVR/Online fairs
8 8
6 2 6
5
4 4
1 1 1
1 1 5 3 3
2 2 2 2 2
3 3 3
2 2 2
1 1 1 1 1
0 0
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All dealers
Given the widespread cancellation of events, The largest number of cancellations were for the year (averaging two live events versus one for were not entirely new in 2020, they rapidly
the number of art fairs dealers exhibited at was also dealers with a higher level of turnover, having started most other regions). Although fairs throughout China escalated in number during the COVID-19 pandemic,
reduced in 2020. Dealers reported that they had the year with more planned events. Dealers with were among the first cancelled at the beginning of with fairs offering platforms tied to the schedule of
exhibited at an average of four fairs in the previous turnover in excess of $10 million reported that they 2020, there were several successful fairs in Shanghai, cancelled events or independently. Dealers reported
year (2019), ranging from two for the smallest had planned to exhibit at seven fairs in 2020, but Shenzhen, and other cities in Mainland China in the that they exhibited at three art fair OVRs on average
businesses with turnover less than $250,000 to six five of these were cancelled. The cancellations meant second half of the year where dealers noted anecdotally (independent of those that were run concurrently
for those with sales in excess of $10 million. Most that galleries of different turnover levels were much that they had made strong sales, with ‘buyers with a live, uncancelled event), with larger galleries
dealers had planned to exhibit at the same number more on par for the year, with most exhibiting at obviously craving the physical experience of the art fair’. with turnover greater than $10 million averaging five.
of fairs in 2020, but the majority were cancelled only one or two live events regardless of their size.
The number of fairs presented in Figure 4.11a pertains
(three out of the four planned events on average). The cancellation rate was also fairly consistent
only to in-person or live events during 2020. As noted
between regions, and none reported a cancellation
above, as these events were cancelled, many fairs
rate of less than 50%. Galleries in Asia, managed
offered online alternatives or OVRs. Although these
to exhibit at a higher number of live events during
190 4 | Art Fairs 191
While OVRs made up for the loss of cancelled events, It is notable that there is evidence of a potential Figure 4.12 | Average Number of Art Fairs Attended/Planned in 2019, 2020, and 2021
dealers’ views were mixed regarding their success. knock-on effect of the pandemic for art fair participa-
Most felt that although they were of some benefit tion in 2021. As was the case with gallery exhibitions, a. Number of Live Events 2019 2020 2021
during the exceptional circumstances of 2020, dealers reported that they plan to reduce the
OVRs could not rival live events in terms of sales, number of fairs they will exhibit at in 2021, with the 8
6
6 5 5
outreach to clients, or their effectiveness at bringing average dropping to three fairs (from four in 2019). 4 4
4 3 3 3 3
new artists or other offerings to the market. The biggest decline was for galleries with turnover 2 2 2 2
2 1 1 1 1 1
between $1 million and $10 million (from five to
‘…Online art fairs have been very disappointing for many 0
three), while galleries with sales less than $250,000 Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All dealers
dealers with small exceptions. Virtual fairgoers have
were the only ones planning to keep their attendance
major fatigue already, and we find that, moreover, even
more stable, but at only two fairs. Anecdotally, b. Number of Live Events and OVRs
some serious collectors and artworld professionals are
dealers noted that they had already been scrutinizing
simply too distracted to visit the virtual fairs with the 8
8
the effectiveness of fairs prior to 2020, and that this 6
7
same level of focus and determination to make purchases 6 5
6
had now come under more intensive review, resulting 4 4 4 4 4 4
as in non-COVID times. We have found that those who 4 3 3 3 3 3 3
in changes to their strategies in future. Some dealers 2
visit fairs online do not visit many of the booths, they 2
at the highest end noted that some of the key
just stick to the few they know and are comfortable with. 0
galleries that were relied on to be mainstays at certain Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All dealers
That has not been a great way to meet new people…’
fairs would now be looking very critically at how
The main drawbacks noted by galleries were the many fairs they really need to do and which ones,
more obvious issues related to the lack of physical particularly as the shadow over the willingness
exhibition of works and the social aspect of live to travel lingered. The possibility of lower-cost online
events, while some also noted that OVRs did not alternatives to fairs was also appealing for some adjacent sponsored events, while also increasing the appealing in reality and provide a better, more
create any ‘urge to purchase’ or impulse buying as galleries. However, many dealers felt that the platforms sophistication of the online offering for non-attendees. meaningful introduction to collecting …’
might be the case with live events. The lack of currently offered needed to improve in terms of Many dealers also felt that some smaller, local art
Despite mixed feelings over the success of art
‘casual introductions’ and interactivity with other layout, ease, and enjoyment of use before they would fairs within strong markets would also flourish, which
fair OVRs to date, these digital initiatives appear to
galleries also made them a less effective forum to appeal to more collectors and therefore become would provide important opportunities for smaller
have had a lasting impact on future plans, with
share new clients between businesses. Some dealers more attractive to exhibit at. and mid-sized galleries.
dealers planning to exhibit at at least one OVR in 2021
also commented that OVRs were more suited to
Some dealers saw a positive element to a potential ‘ …Local, more organic fairs could be an important on average, and up to three for those dealers with
professional clients such as art advisors than selling
reduction in the number of fairs and their capacity, avenue for smaller galleries to introduce new collectors turnover greater than $10 million. When these are
directly to private clients. (OVRs are discussed in
with larger international events possibly becoming to the art market and the gallery system. Although added to live events, galleries’ plans for fair attendance
more detail in Chapter 5.)
more exclusive with less crowds, dinners, and most new collectors attend large global events, some of on- and offline in 2021 is stable on the number of
the smaller, more hand-held ones might be more fairs in 2019.
192 4 | Art Fairs 193
The cancellation of fairs also meant that galleries’ – Online internal, sales carried out entirely online Figure 4.13 | Share of Dealer Sales by Value by Sales Channel (Turnover-Weighted)
sales via art fairs were significantly reduced in 2020 via the dealers’ website, social media channels,
compared to 2019. The dealers surveyed in 2020 online viewing room, or email; a. 2019 b. 2020
reported on their sales via various sales channels in Other Other
– Online, other third party, carried out entirely Online (3P platform) 5% 6%
2019 versus 2020, based on the following choices:40 4%
Online (3P platform)
5%
online facilitated by a third-party company or Online internal
8%
– Gallery sales, transactions that were from or platform (‘3P platform’); and
Art fair OVRs
facilitated by a visit to their gallery or premises; 1%
– Other (including sales carried out privately, through Gallery
40%
Gallery
42%
– Overseas fairs, sales made at or directly connected phone calls or any other channels). Online internal
Local fairs 25%
to live events, art fairs outside of the reporting 15%
In 2019, art fair sales accounted for 43% of sales
galleries’ primary country of business;
made by dealers (42% from live events and 1% from
– Local fairs, sales made at or directly connected art fair OVRs), which exceeded sales categorized
to live events, art fairs within the reporting as taking place in their gallery premises. The share of Art fair OVRs
galleries’ primary country of business; art fair sales from live events declined dramatically Overseas fairs 9%
Local fairs
Overseas fairs
7%
27% 6%
in 2020 to just 13% of dealers’ total sales, with
– Art fair OVRs, sales carried out or originating from
an additional 9% made through art fair OVRs (and
a fair’s online viewing rooms or other online fair © Arts Economics (2021)
an equally notable rise in online sales).
platform;
The cancellation of fairs meant The share of art fair sales declined dramatically
that galleries’ sales via art fairs were significantly in 2020, accounting for just 13% of total dealer sales, with
reduced in 2020 compared to 2019 an additional 9% made through art fair OVRs
40 Based on feedback from dealers, respondents were offered different, more detailed (and more) choices of sales channels in the 2020 survey than those in previous
years. Comparisons for 2019 are therefore based on information provided by dealers surveyed in 2020. The share of sales at fairs is measured as the average share of
total sales, weighted by each gallery’s sales turnover.
194 4 | Art Fairs 195
Figure 4.14 | Share of Art Fair Sales by Dealers in 2019 versus 2020
a. Share of Sales at Live Events 2019 2020 b. Share of Sales at Live Events and Art Fair OVRs 2019 2020
50% 50%
44% 45%
41% 41%
40% 37% 40% 37%
32% 32% 33% 32%
30% 30%
19% 19%
20% 20% 18% 18% 18%
14% 14% 14% 13% 13%
10% 10%
0% 0%
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
Figure 4.14 shows the weighted-average share of sales fair events themselves. Given the turnover-weighted than both payroll and rent. The significant reduction of our costs were attributable to art fairs, and some
undertaken at fairs by different levels of gallery shares outlined above, the total art fair sales in 2020, in attendance at live events in 2020 brought this were not that useful from an economic point of view,
turnover. This figure indicates that the biggest declines including art fair OVRs, would not have surpassed outlay down to just 16%, and the costs of travel were especially for smaller galleries. In addition, we have
in share were at the highest end of the sector. Dealers a maximum of $6 billion, a substantial reduction on also reduced (from 7% to 4%). Chapter 7 discusses many ecological concerns regarding international trade
with turnover in excess of $10 million reported the previous years. spending on art fairs and travel by dealers in 2020 fair participation. The whole field of art fairs needs
largest decline in art fair sales, with their share falling in more detail, showing a dramatic drop in spending to be rethought…’
Although the reduction of sales at fairs resulted in
by a significant margin of 31%. of 66% on art fairs by the dealer sector as a whole
a significant financial loss for many galleries, as ‘ …The profits we made from art fair sales in previous
(from $4.6 billion in 2019 to an estimated $1.6 billion
Estimates for fair sales based on the reported discussed in Chapter 2, some businesses noted that years were offset to a large degree by overhead costs.
in 2020), while work-related travel expenditure
data from previous surveys in recent years indicated by reducing the costs associated with travel and While we lost sales in 2020, the reduction in costs meant
also declined by 50%. For some businesses, this helped
that fair sales could have accounted for up to $16.6 exhibiting at fairs, they were able to maintain more stable net revenues. Art fairs are a necessary exposure
to compensate for the reduction in sales as other
billion in 2019. Some of these sales were made in stable profits despite the drop in sales. Art fair and experience for the gallery so we will do more –
costs remained relatively stable.
advance of the fair (15%), and others after the event costs were reported in the survey as the single largest but selected wisely – and only as soon as we are allowed
but in connection to their participation (21%), component of total costs for galleries, accounting ‘…While our sales were lower in 2020, we were able to safely travel internationally…’
with 64% (or $10.6 billion) estimated as sales at art for 26% on average in 2019, which was a higher share to maintain profits by reducing costs. A very large part
196 4 | Art Fairs 197
Figure 4.15 | Share of HNW Collectors Purchasing from Art Fairs in 2020
a. Share of Collectors by Location Art fairs Art fair OVRs b. Share of Collectors by Generation Art fairs Art fair OVRs Gallery OVRs
60% 55%
60%
54%
51% 52%
50% 47% 48% 50%
46% 46%
44% 43% 43% 43% 43%
42% 41% 41% 42%
40% 39% 39%
40% 38% 37% 37% 38% 40%
36%
33% 34% 34% 35%
30% 30%
20% 20%
10% 10%
0% 0%
US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico Millennials Gen X Boomers
China
4.5 | Art Fairs and HNW Collectors in their behavior in terms of art fair and exhibition in the US and Germany, where over half the sample in versus 35% of new collectors that had only been
Research among collectors in the global art market attendance in 2020. It also offered insights into the each region had purchased from an OVR in 2020. The active in the market for less than two years.
has revealed the busy schedules of many high willingness of collectors to reenter their old patterns lowest take-up was in Singapore and Hong Kong, with
Art fairs were ranked in third place behind galleries
net worth collectors centered on exhibitions, art fairs, of attendance and schedules in 2021 and beyond. around one third of respondents buying at an OVR.
and auctions in terms of collectors’ preferences
auctions, and other associated events around the (The results of the collector survey are outlined in
While there was little difference in purchasing at live for purchasing art in 2020. Despite a relatively high
world. The cancellation of many art fairs significantly detail in Chapter 6.)
events between generations, millennial collectors level of use, just 14% of HNW collectors across all
impacted this schedule in 2020, and the COVID-19
HNW collectors reported that art fairs were their were more likely to have used OVRs during the year. regions chose art fairs as their most preferred
pandemic reduced both their ability and willingness
third most commonly used channel for purchasing in However, this trend was not unique to art fairs channel for purchasing, and 66% of those opted for
to attend exhibitions and sales of many kinds during
2020 (next to galleries and auctions). Despite the and also held for gallery OVRs, which were also used live events rather than OVRs. Mainland China and
the year.
high number of events being cancelled, 41% of HNW more by millennials than their older collecting Taiwan had the largest share of collectors preferring
A survey of 2,569 HNW active collectors by Arts collectors over all of the regions surveyed reported counterparts. Purchasing at art fair OVRs was also art fairs (at 19% and 21% respectively), with the
Economics in association with UBS Investor Watch in making a purchase at an art fair in 2020, while 45% positively related to wealth levels and length of time lowest share of preferences from HNW collectors in
2020 across 10 regional art markets in the Americas, reported making one through an art fair OVR. The collecting, with 55% of those collecting more than Italy (9%).
Europe, and Asia revealed insights into the changes highest rate of use of art fair OVRs was by collectors 20 years having purchased from an art fair OVR
198 4 | Art Fairs 199
Figure 4.16 | Exhibitions and Events Attended by HNW Collectors in 2019 versus 2020
a. Number of Specific Events Attended (All Collectors) 2019 2020 b. Number of Events Attended (by Collectors’ Region) 2019 2020
8 70 64
7
7 60
6 52 51
6
50 44 44 44
5 5 5 5 5 42
5
4 4 4 4 4 4 4 4 40 34
36 35 36
4 32 31
29 29 30 29
3 30 28
3 23
21
20
2
1 10
0 0
Gallery Museum Private Live Art fairs Artists’ Biennales Other US Germany Italy France Mainland UK Hong Kong Mexico Singapore Taiwan
exhibitions exhibitions collections auctions studios China
The survey of HNW collectors revealed their high number of local events (57%) than those overseas. segments in the survey, Boomers went to the saw a drop in art fairs attended, although collectors
level of engagement within the event-driven art HNW collectors in Germany went to the most events most events in 2019 (45, including six art fairs) ahead attended just one less on average. Notably again,
market. Collectors reported attending an average overall, 64 in total, including 11 art fairs. There was of both millennials (44) and Gen X collectors (33). although Boomers went to six less events in 2020
of 41 art-related events in 2019, including seven also a high average of 44 in Italy, France, and the US, (averaging 39), they were still ahead of both
The COVID-19 pandemic significantly affected
gallery exhibitions and five art fairs.41 The survey also including six art fairs for European-based collectors millennials (34) and Gen X collectors (25). Overall, the
attendance in 2020, reducing both willingness and
showed a high level of engagement in the non- and five for those in the US. Collectors from Asia had predicted shift to a greater focus on local events
opportunities for collectors to go to exhibitions,
commercial art sector, with museum exhibitions lower event attendance (with the lowest overall by as an outcome of the COVID-19 pandemic was not yet
with a reduction to 33 events in total. All regions saw
averaging the highest number of events at 11, collectors in Taiwan at 29 events), and averaging four strongly evident in this sample, with the share of
a fall in the number of events, but these ranged
including six visits to public museums and five to fairs each across Asia. Although the youngest Gen Z local exhibitions decreasing slightly to 52%, although
from a drop of just two events by US collectors to a
private collections. There was a tendency across collectors were by far the most active, averaging up to gallery exhibitions did increase their local share
much greater pullback of 15 by those in Mexico and
all events for collectors to have attended a larger 80 events in 2019, in the three main generational (to 60%).
12 by collectors in France and Germany. Most regions
41 22 respondents were removed when determining all event-based figures that reported attending over 600 events in either 2019 or 2020.
200 4 | Art Fairs 201
Figure 4.17 | Planned Attendance at Local and International Events in 2021
a. Share of Collectors - Without a Vaccine Local and overseas Only local Not attending b. Share of Collectors - With a Vaccine Local and overseas Only local Not attending
100% 100%
12% 12% 10% 13% 12%
17% 17% 14%
20% 20% 19% 21% 18%
24% 27%
32%
80% 80%
33%
34% 34% 33% 33% 33%
21% 21% 32%
39% 38% 35% 37%
60% 37% 35% 60%
34%
33%
33%
40% 40%
54% 54% 57% 54% 55% 53% 50%

43% 44% 45% 45% 44% 44% 42%
20% 35%
20% 40%
0% 0%
Museums Private Gallery Art fairs Artists’ Live Biennales Other Museums Private Gallery Art fairs Artists’ Live Biennales Other
museums exhibitions studios auctions museums exhibitions studios auctions
While the negative effect on attendance during international events for many collectors and those and overseas art fairs and gallery exhibitions in go to an international art fair, a further third would
2020 was expected, the extent of the shadow it may in the art trade is the speed and efficacy of the 2021 even in the absence of a successful vaccine attend a local fair, and only 13% would still not attend
continue to cast over the event-driven market in rollout of COVID-19 vaccine programs. rollout. Although there were some marginal differences either. Again, the willingness to attend was relatively
2021 is still uncertain. Despite ongoing limitations and between different types of events, these were not uniform between exhibition types, with the highest
Without a vaccine, the majority of collectors
restrictions on travel and large gatherings in 2021 significant, and collectors’ willingness to attend was share willing to attend an international gallery
would not attend any overseas events in 2021. 55%
in many regions, most HNW collectors indicated that fairly uniform across all. exhibition (57%), and the lowest for the larger scaled
of collectors would not be willing to attend gallery
they were still actively planning to go to exhibitions, biennales, where 18% of the sample still felt they
exhibitions or art fairs overseas, including 20% If collectors had the reassurance that there was a
art fairs, and events in the next 12 months, and would not attend even if it took place locally and a
who would not even be willing to attend a local art successful vaccine in place, their willingness to attend
some hoped to attend these events both locally and vaccine was in place.
fair, and 17% not willing to visit a local gallery art-based events improved further. In this context,
overseas. A crucial factor in the decision to attend
exhibition. However, 45% would attend both local just over half (54%) of the sample would be willing to
202 4 | Art Fairs 203
Figure 4.18 | Earliest Date Collectors Plan to Attend Gallery Exhibitions and Fairs in Next 12 Months Although Boomers started out with a higher average Again, millennial collectors showed a greater
attendance at fairs, they remained the most reluctant enthusiasm for travelling to events earlier than older
Local art fair Overseas art fair about 2021 in both scenarios: 25% of Boomers would collectors, including 31% willing to go to an overseas
Share of collectors Local museum Overseas museum Local gallery Overseas gallery not attend a local or overseas fair if there was art fair in the first half of 2021 and 45% to a local
no vaccine although this dropped to 16% if there art fair (versus 23% and 29% of Boomers respectively).
40% was, compared with 17% and 10% of millennial When asked about some of their concerns about
collectors respectively. Millennial collectors the art market going forward, 58% of collectors were
30% were considerably more likely to travel than older very or extremely concerned about the restrictions
collectors, with 60% willing to go to an art fair and reductions in international travel they were
20% 38% overseas in this more optimistic case versus being subjected to due to the COVID-19 pandemic,
26%
45% of Boomers. This was also the case for gallery ranking as their second-highest concern (next to
26%
10% 22%
18% 20% 18%
exhibitions, with 14% of Boomers not willing the closure of galleries). The highest levels of concern
14%
10% 8%
to attend any exhibitions, locally or abroad, in 2021 were in Germany, Mexico, and the US and in the
0% versus only 8% of millennials. segment of millennial collectors. Reduced access to
Q1 2021 Q2 2021 Q3 2021 Q4 2021 2022+ museum exhibitions was equally ranked as the
To probe further into their specific plans and
second-highest future concern, and again, more so
preferences regarding events, collectors were asked
© Arts Economics (2021) for millennial collectors than their older peers.
when might be the earliest they would attend
Just over half (56%) of the sample reported that their
an exhibition again. When asked in this way, HNW
access to international art fairs was a key concern,
collectors still showed some reluctance about
again, highest for millennial collectors and for those
68% of HNW collectors travelling in early 2021: just under half of the sample
(48%) said they would be willing to go to an
in the US.
would be happy to attend a fair by the end international art fair in the first six months of 2021,
although a majority of 64% would be ready to
of Q3 2021, and over 80% into Q4 attend local fairs. However, the majority of collectors
(68%) reported that they would be happy to attend
a fair by the end of Q3, and over 80% into Q4.
There was still a reluctant 18% of the sample of HNW
collectors that were only willing to put overseas
events back on their agendas in 2022.
4 | Art Fairs 205
Figure 4.19 | Dealers’ Views on Art Fair Sales for All Galleries in 2021
Share of dealers Decrease Same Increase
100%
27% 29%
33% 37%
80% 42% 45%
60% 29%
33%
31% 23%
22% 12%
40%
44% 43%
20% 36% 36% 38% 40%
0%
Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m All galleries
4.6 | Conclusions further. Some of the lowest expectations were from

In 2019, when dealers were asked about how dealers in Europe (such as in Germany where only
they thought art fair sales would fare over the next five 23% of dealers were expecting an increase), although
years, only 16% expected a decrease and half were dealers in the UK had a higher-than-average share
optimistic of sales rising. However, at the end of 2020, at 46%. Dealers in Asia were the most optimistic about
although many dealers hoped that they would return fairs, most notably in China, where just over half
to some art fair exhibitions, their future outlook (54%) of the dealers surveyed expected an increase in
for sales was considerably more reserved. While 37% 2021. Breaking down the sample by levels of turnover,
of the dealers surveyed thought fair sales in general those expecting an increase was highest for dealers
for all galleries would increase, 23% thought they would with turnover from $1 million to $10 million, although
remain stagnant and 40% felt they might decrease even in this segment views were very mixed.
206 4 | Art Fairs 207
Figure 4.20 | Dealers’ Views on the Future than three years. 11% of the dealers surveyed thought been noted more anecdotally as a critical part of their ‘ …Some art fairs have become overcrowded, and to the
of their own Art Fair Sales that sales at art fairs would not improve in future: interaction with the market, with the social and extent that after 2020, attendance drops would actually
3% because their gallery was unlikely to return to art intellectual aspects of exchanging ideas also critical in be of benefit to those exhibiting. Without crowded
Will not improve
Will not improve
for the gallery 3% 8%
fairs in the coming years and the remaining 8% building relationships between dealers and collectors, openings, parties, and the hysteria around some events,
More than 3 years felt there would be permanent changes to the sector, and one that is difficult to commence or even we could have more personal interactions with smaller
to improve 2%
such as a significant reduction in the number of maintain over the longer term online. The continuance groups and individuals based on the exchange of
art fairs. of both online and offline versions of fairs, and knowledge and enriching conversations rather than
Will begin to new and better hybrid models that allow for distant ‘being seen’, which is likely to develop more serious
improve in 2021 While many dealers and collectors believe that art
44% involvement in events is likely to continue to grow. collectors for the future...’
fairs will pick up again in the second half of 2021,
As noted by the fairs themselves surveyed in 2020,
there is a general feeling that fairs may become more The general consensus from dealers was that
most were planning live events in 2021 but the bulk of
2 to 3 years local for a period, as a lack of confidence in travel OVRs were a useful but incomplete alternative to live
to improve those planned to combine live events with a digital
43% lingers. It follows that for fairs that rely predominantly events. However, rather than a simple pivot back
platform of some kind.
on international audiences, only those with a to live art fairs when it is safe to do so, many noted
very strong foothold may be viable. Because of the While art fairs took a back seat in terms of top they are considering other alternative models of
remaining risk aversion, dealers will also have to priorities for galleries in 2020, as reducing costs and collaboration in live exhibitions and sales that had
calculate very closely which core fairs create profit in online sales were key, in 2021, fairs were once again already emerged over recent years in the sector.
the long run, and this may see a continuing decline in the top three priorities overall for dealers Permanent, shared exhibition spaces for galleries
in attendance and ultimately the number of events (alongside online sales and maintaining relationships were already being developed prior to 2020 and have
To investigate dealers’ views further on the future
in future. with collectors). The fair model is likely therefore seen further development, including the proposed
of art fairs, they were also asked, in consideration of
to have some longevity, but is also likely to continue launch in 2021 by Frieze of a year-round gallery and
the disruption to art fair sales in 2020, when they While some art fair OVRs have been relatively
to evolve. This evolution may see the reduction and events space in London for exhibitions, talks, and
thought their own sales in this area might improve. successful in maintaining a presence for dealers
consolidation in the number of live events offered in events. Other collaborations have included pop-up
Almost 15% of respondents said they could not and making sales, most dealers and collectors agreed
future, a prediction by many in the art trade already events in gallery and alternative-use spaces, expanded
answer the question, which is understandable given that they did little to replace the atmosphere
before 2020, and including some who feel a reduction local gallery events and weekends, and multicity,
the uncertain context of events for the first half of or client outreach of a live event, so once these are
in number could be beneficial. Others noted that a simultaneous exhibitions either unconnected
2021 and the rapidly changing progress of the safely allowed to return, the ones that remain could
reduction in the number of visitors at existing events or connected to a fair (such as NADA’s December
pandemic and vaccination programs. Of those that be attended with renewed vigor. Regardless of
could even be beneficial to galleries. supplement to their art fair OVR in 2020). These
were able to forecast sales, 44% thought that they location or age group, a majority of HNW collectors
alternative models were all cited by dealers as offering
might start to improve in 2021. A further 43% thought (75% overall) reported a preference of viewing art
an opportunity to offer visibility, in-person interaction,
they would take two to three years to improve, while for sale in a physical exhibition or art fair over online
and the sharing of costs and networks of buyers
a small share of 2% felt it would take even longer exhibitions. Also, attendance at art fairs has
outside the more traditional art fair model.
Online Sales
210 1 | The Global Art5 Market
| Online
inSales
2019 211
Key Findings
Online Sales 1. Despite the contraction of sales overall, aggregate 6. The most commonly used channel for purchasing
online sales reached a record high of $12.4 billion, art online by HNW collectors surveyed in 2020 was
doubling in value from 2019. online auctions, used by 49% to complete a purchase.
Gallery OVRs were the second most popular overall
2. The share accounted for by online sales also expanded (47%) and art fair OVRs ranked third (45%).
from 9% of total sales by value in 2019 to 25% in 2020,
the first time the share of e-commerce in the art market 7. Despite a high level of use in 2020, online channels
has exceeded that of general retail. were not the first preference for viewing art for sale:
66% of HNW collectors preferred to attend a physical
3. The share of online sales in the dealer sector, including exhibition, 22% preferred online, and 12% had no
art fair OVRs, expanded threefold in 2020 to 39% from preference of one over the other.
13% in 2019. Dealers at all levels showed significant
increases in the online component of their sales, with 8. 90% of HNW collectors visited an art fair or gallery
the largest advance by those in the $10 million-plus OVR in 2020, and 72% felt it was important or essential
turnover segment (to 47%). to have a price posted when browsing works of art for
sale online.
4. Of those dealers reporting online sales in 2020,
an average of 32% were to new online buyers, down from
57% in 2019. This was echoed anecdotally, with dealers
noting that most online sales were to existing clients.
5. In the fine art auction sector, 22% of the lots sold in

2020 were in online-only sales, double the share in
2019. Works priced over $1 million made up only 6% of
total online-only values, versus 58% for offline sales.
212 5 | Online Sales 213
5.1 | The Online Art Market of total art sales (at 9%) still lagged behind global Figure 5.1 | The Online Art and Antiques Market 2013–2020
The growth of online sales was the most significant retail e-commerce generally (14%). Online sales were
development in the art market in 2020. Despite the also doing relatively little to rival or disrupt the Billion $
contraction of sales overall, the component of online existing offline incumbents, particularly the highest
sales of art and antiques reached a record high of priced sales at auction and in galleries and art $14.0
$12.4
$12.4 billion, doubling in value from 2019. The share fairs. However, as businesses, events, and travel were $12.0
accounted for by online sales also expanded from closed or restricted in 2020, the pivot to online $10.0
9% of sales by value in 2019 to 25% in 2020. Online communication, exhibitions, and sales became critical $8.0
sales are defined here as including sales by galleries, for many businesses’ survival. Traditional galleries $6.0 $6.0
$6.0 $4.9
$5.4
dealers, and auction houses made online, either and auction companies significantly ramped up digital $4.4 $4.7
$4.0 $3.1
through their own websites, viewing rooms, other initiatives, and like other industries built on travel,
platforms or via email, as well as those made through events, and personal contact, began to engage in $2.0
third-party platforms and art fairs. It includes sales a more mainstream way with online technologies that $0.0
2013 2014 2015 2016 2017 2018 2019 2020
made by traditional offline dealers and auction offered a means to maintain liquidity. Besides the
houses online as well as those made by online-only shift to e-commerce by auction houses and dealers,
companies in these markets selling on their own art fairs’ online viewing rooms and a variety of © Arts Economics (2021)
account. third-party platforms also expanded the range of

digital options for sales available within the art
The internet had already revolutionized
communications, allowing continuous and global
market.
Online sales of art and antiques
access to information and art. Online art sales
were also steadily advancing prior to the COVID-19
reached a record high of $12.4 billion,
pandemic, driven by an expanding global base doubling in value from 2019
of buyers, the expansion of technologies, and the
increase in e-commerce in general, although
with slower growth in its share of the market’s value
than initially expected. Between 2013 and 2019,
sales in the online art market doubled, reaching just
under $6 billion. Despite this growth, the share
214
Figure 5.2 | Share of Online Sales in the Art Market versus General Retail 2016–2020
Share of sales Art and antiques Retail
30%
25%
25%
20% 18%
15% 14%
12%
10%
10% 9% 9% 9% 9%
8%
5%
0%
2016 2017 2018 2019 2020
© Arts Economics (2021) with data from eMarketer.com
The growth in the share of online sales made a While general retail was estimated to have fallen
notable departure for the art market, being the first by 3%, e-commerce grew by 28% to an estimated
time it surpassed the share of e-commerce in $4.3 trillion. Although forecasts are for growth
aggregate global retail. E-commerce in the global to slow somewhat in 2021 as brick-and-mortar retail
retail sector accounted for 18% of total sales in rebounds, it is estimated that by 2024, retail
2020, up 4% in share year-on-year, and from a level e-commerce is expected to have reached $6.4 trillion
of only 7% in 2015.42 in annual sales.43
42 Statistics on general retail are taken from E-Marketer (2021) Global E-Marketer Update 2021, available at www.emarketer.com. Estimates vary, however, with
research from the OECD reporting regional averages of e-commerce in 2020 of 16% in the US, 25% in China, and 31% in the UK. See OECD (2020) OECD Policy Responses
to Coronavirus (COVID-19), E-commerce in the time of COVID-19, available at www.oecd.org.
43 Forecasts also from E-Marketer (2021) ibid.
Figure 5.3 | Average Share of Dealer Sales made

Online (2019 versus 2020)
Definitions of what constitutes an online sale vary,
but in this survey, respondents were asked to
The share of sales made online varied by the level
of dealers’ turnover. Previous research has shown
Dealers in the
attribute their share of turnover accounted for by that in both the auction and dealer sectors, the share $10 million-plus segment
the following categories of online sales: of online sales generally declines as the level of
Share of sales
more than tripled
Art fair OVRs Online internal Online
(3P platform)
turnover increases. This was the case to some extent
– Internal online sales – sales carried out entirely
40%
online via a dealer’s website, social media channels,
in 2019, with the share of online sales lowest for their share of online sales
35%
5% dealers with the highest turnovers (at 9% for those
an OVR, or an email (but without a visit to the
gallery to view the work);
with turnover in excess of $10 million). In 2020, to 47%
30%
however, this trend was reversed. Dealers at all levels
25% – Online via a third party – sales carried out showed significant increases in the online component
Even in 2020, there were still some galleries that
25% entirely online facilitated by a third-party company of their sales, but it was those businesses with the
20% did not make any online sales, although this was a
or platform (‘3P platform’), excluding an art fair; and largest turnovers that also showed by far the highest
minority of respondents (24%) compared to 41%
15% rise. In the absence of fairs and other events that
– Art fair OVRs – sales carried out or originating of the sample in 2019. Of those galleries who did not
previously generated a major portion of their sales,
10% 4% from a fair’s online viewing rooms or other online engage in online selling in 2019, 71% reported that
dealers in the $10 million-plus segment more than
fair platform. they began making sales online in 2020, and for these
5% 8% 9% tripled their share of online sales to 47% (if art fair OVRs
businesses, their share of online sales went from
Online sales made by dealers’ own internal channels are included), an increase of 38% year-on-year.
0% 1% nil to 41%, showing the significant transformations
made up by far the largest share of sales at 25% Dealers with turnovers less than $500,000 saw more
2019 2020 some businesses have undergone. Although it cannot
(from 8% in 2019), with art fair OVRs accounting for moderate increases of around 10%.
be determined if this was their very first time selling
9% and other third-party channels 5%.44
© Arts Economics (2021) Overall, the majority of dealers (63%) reported online (some galleries may have possibly just not
an increase in their share of online sales, 16% been engaging in e-commerce in 2019), it implies that
reported that the share was stable on 2019, and 21% almost 30% of dealers started or restarted selling
5.2 | The Online Retail Market
The growth of online sales by dealers accelerated
Dealers at all levels reported a decrease. For those decreasing their online in 2020, which is a very significant change for
rapidly in 2020. According to the global survey showed significant increases share of online sales, this was compensated for by
increasing gallery sales or an increase in ‘other’
the sector.
of dealers conducted at the end of 2020, the share

of online sales expanded to three times its size, in the online component channels, which some noted included selling from
home or through other forms of personal outreach.
from 12% in 2019 to 30% in 2020, or 39% including of their sales
art fair OVRs.
44 Shares are turnover-weighted, that is, the aggregate share is weighted by a gallery’s sales turnover (rather than a simple average across all galleries) to more
accurately reflect the share of sales in the sector as a whole. The definition of online sales was expanded in 2020 versus previous surveys, and some sales classified as
gallery and fair sales in 2019 surveys may be classified as online in this 2019 calculation. A very conservative adjustment upwards was therefore made to the aggregate
online sales estimates for 2019 in this report to account for a potentially larger share attributable to this channel by the core dealer group.
Figure 5.4 | Average Share of Dealer Sales by Value Made Online in 2019 versus 2020 by Level of Turnover45
a. Share of Online Sales (Excluding Art Fair OVRs) 2019 2020 b. Share of Online Sales (Including Art Fair OVRs) 2019 2020
50% 50% 47%
40% 40% 37%

34%
30% 31% 30%
29%
30% 30% 26%
25%
22%
19% 19%
20% 20%
14% 14% 15% 15%
11% 11%
9% 9%
10% 10%
0% 0%
Under 250k $250k–$500k $500k–$1m $1m–$10m Over $10m Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
32% of online sales made by Before 2020, online channels were an important
means for dealers to connect with new buyers.
of 32% were to new online buyers that the gallery or
dealer had not been in contact with before. This
dealers in 2020 were to new buyers, With live events cancelled in 2020 and restrictions in was echoed anecdotally, with dealers noting that new
place on visits to most galleries, online outreach buyers had accounted for a minority of their sales,
down from 57% in 2019 became even more vital. In 2019, over half of online and most online sales were to existing clients. New
sales by dealers (57%) were to new buyers who online buyers were significantly more important
had never been to their gallery or met the dealer in for smaller galleries, accounting for 43% of the online
person. In 2020, however, online sales accommodated sales of those with turnover of less than $250,000,
a range of buyers, not just those new to the gallery. versus 18% for those with annual sales greater than
Of those dealers reporting online sales, an average $10 million, whose online outreach focused more
45 The share of online sales is based on a weighted average of sales in 2019 and 2020. Galleries are segmented into turnover categories according to their 2019
turnover levels.
Figure 5.5 | Share of Online Sales by Dealers on their established clients, with a significant share Figure 5.6 | Share of Online Sales by Buyer Category and Level of Dealer Turnover in 2020
by Buyer Category in 2020 to those already familiar with buying online (46%).
While reaching new buyers is one of the primary New online buyers without personal contact New online buyers with previous personal contact
Regular online goals of dealers’ online strategies, a key objective for Share of sales Regular online buyers without personal contact Regular online buyers with previous personal contact
buyers with previous
personal contact New online any business is to convert new buyers into repeat
28% buyers without
clients. The fact that smaller galleries always make a 100%
personal contact
32% 18%
higher share of sales to new buyers is therefore not 23%
30%
34%
always an indicator of success, but may also be due to 80%
10% 46%
the necessity to do so if repeat business is low. 11%
8%
8%
Regular online
Dealers reported that 31% of their online sales 60%
buyers without 23%
personal contact
went to buyers who previously had contact with the 44% 5%
31%
9%
gallery offline or in person, and included those who 40%
30%
New online buyers with
previous personal contact had bought from the gallery before but only bought 31%
31%
online from them for the first time in 2020. This
20% 43%
again aligned with comments from both dealers and 31% 28% 28%
collectors, who noted that some collectors were 18%
buying online for the first time as there were no other 0%

Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
options. These established, but new-to-online,
buyers were the least common for smaller galleries
(23% for those galleries with turnover less than © Arts Economics (2021)
$250,000), but accounted for double that share (44%)
for galleries in the $500,000 to $1 million turnover
range, for whom fair sales had previously been key.
31% of online sales went to buyers who
Dealers also maintained some sales to buyers
that regularly only buy online and do not have other
previously had contact with
contact with the gallery, although these made up the gallery, but only bought online from
the smallest share of sales for dealers at all levels, with
an average of 9% overall (down from 11% in 2019). them for the first time in 2020
Due to the limitations and restrictions on in-person At the end of the year, dealers across all sectors Figure 5.7 | Most Helpful Online Strategies for Dealers in 2020 and 2021
contact and physical exhibitions, dealers used a were asked which online strategies had been the most
range of online strategies in attempts to boost sales helpful for their business in 2020, and which Share of dealers 2020 2021
and maintain relationships with collectors. The they thought would continue to work best in 2021.
2020 mid-year survey of contemporary and Modern Only 2% of the sample reported that they had Direct/personal emails
80%
72%
galleries showed that galleries were particularly not used any of the strategies outlined in Figure 5.7.
58%
active in enhancing online content for their personal For the remainder, the most helpful strategies Social media activities 54%
websites or OVRs, including artist interviews, webinars, in both 2020 and 2021 were direct personal emails Online viewing rooms (gallery)
40%
42%
and other editorial content as well as continuing to to existing clients, with social media activities
30%
increase their social media presence. ranking second. 40% of dealers surveyed found OVRs Enhanced online content 32%
helpful and rated those run internally by their own 24%
OVRs, which had already been gaining momentum Online viewing rooms (art fair)
businesses ahead of fair-run platforms. 19%
for larger galleries and fairs in recent years, were also 18%
Peer galleries/associations comms.
used more widely. As art fairs were cancelled, most These top three strategies were consistent for 15%
major fairs offered galleries a virtual alternative dealers across all turnover levels, with the exception Online exhibition tools
7%
8%
through OVRs staged around the dates of the original of the largest businesses with sales above $10 million,
2%
shows. Although many galleries noted that these where enhanced online content production (such Digital tools for buyers 4%
forums did not come close to replicating the sales or as artist interviews, webinars, gallery walk-throughs,
experience of physical events, most were glad to and conferences) ranked in third place ahead of 0% 10% 20% 30% 40% 50% 60% 70% 80% 90%
avail of the opportunity, leveraging these time-limited gallery OVRs.
forums to help facilitate sales and generate client © Arts Economics (2021)
Despite significant discussions on how new
interactions. The survey of galleries in July indicated
technologies could be used to enhance digital viewing
that 67% of those surveyed used art fair virtual
and collector experiences online, online exhibition
exhibitions more than they had done in 2019, while
tools such as virtual reality (VR), augmented reality optimistic that technologies in these areas would of galleries had never used VR and 72% had never
just over half of the contemporary and Modern
(AR), or 3D imaging tools were only rated as helpful by continue to advance and could become more useful used AR or other similar technologies. Cost concerns
galleries also used OVRs on their own websites more
a relatively small share of dealers. Some dealers in future for enhancing exhibitions and possibly may have been a factor regarding their use, with
than in 2019.
noted that they did not feel that these tools, in their sales. Others noted that they simply had not yet tried a higher rate of use reported by dealers with larger
current form, did enough to enhance the viewer them: the 2020 mid-year, sector-specific survey of turnovers.
experience to warrant investment in, but many were contemporary and Modern dealers showed that 56%
Figure 5.8 | Growth in Online Metrics from March to December 2020 (Artlogic) However, one of the most significant growth been in business for three years or more, including
trajectories witnessed by Artlogic was the number of 19% in business for longer than 15 years.46
clients using online viewing rooms, with growth
Driven both by the increasing take-up of e-commerce
of over 3,000% in this nine-month period. In March,
80% on the demand side as well as cost pressures for
75% one in 40 of their website clients used OVRs, whereas
66%
galleries from rent and other overheads, it seems
62% by December 2020, this had increased to one in
60%
59% likely that there will be a continued expansion of
52% three. The development of OVRs in 2020 is discussed
online-only galleries, as well as more hybrid models
further in Exhibit 3.
40%
combining online-only businesses with pop-up
There are some indications that online-only gallery exhibitions in more temporary exhibition spaces.
businesses may also expand in future. As noted in
20% Having been debated for several years, the
Chapter 2, the global dealer survey indicated that 5%
possibility of relaxing the vetting criteria for galleries
of respondents were operating without a physical
0% by allowing them to exhibit at art fairs without
Total Email enquiries Share making Average number Average monthly premises in December 2020. This survey was much
websites per site online sales of sales sales value
having a permanent exhibition space was also brought
more likely to reach traditional galleries with an
into focus in 2020. Notably, to help smaller galleries
offline premises as it was distributed by gallery and
© Arts Economics (2021) with data from Artlogic and provide allowances for those who have given up
dealer associations and art fairs, both with vetting
their premises during the year due to the COVID-19
criteria, including, in many cases, the requirement for
crisis, Art Basel made a number of concessions for its
exhibitors and members to have a physical gallery
To help galleries advance their visibility and This presents a clear picture of the development OVR exhibitors over the course of the year, including
or exhibition space. Artsy’s survey of gallery
e-commerce online, specialized companies such as of the online activity. There was a significant increase temporarily abolishing the requirement to have a
professionals in 2020 showed that up to 35% of their
Artlogic have assisted in developing art-based in the number of galleries wanting to develop permanent space, provided the gallery continued to
respondents were operating without a physical
websites, viewing rooms, and other online tools. To new websites, with their total number of website stage shows for its program, and also relaxing
location, more than double the share in 2019. Just
assess the effects of the pandemic in driving activity clients growing by 75% in the period. On websites the minimum number of exhibitions a gallery must
over half (54%) of these were operating mainly
and strategies online, it is also useful to examine the developed by Artlogic, activity levels also increased, hold per year. Although these measures are not
in the primary market, and most were micro-sized
experience of these companies in 2020. Data with the share of galleries making online sales permanent, it seems likely that fairs will continue to
businesses either being sole traders (65%) or
supplied directly by Artlogic from just over 1,000 growing 62%, and both the volume and value of those review their vetting criteria to account for changing
companies with just two to three people (a further
gallery websites is set out in Figure 5.8, showing the sales also expanding. Clients also engaged much realities such as this in the sector.
25%). While 38% were relatively new businesses
growth in different metrics in the period from the more with galleries online, with the number of email
opened within the last three years, the majority had
start of the pandemic in March to the end of the year. enquiries per site increasing by 66%.
46 Artsy (2021) Artsy Gallery Insights 2021 Report, available at www.artsy.net.

Exhibit 3: The Rise of the OVR

Matthew Israel, Curator, Writer, Art Historian, Co-Founder, and Chief Curator at Artful
COVID-19 forced art market institutions to pivot space’, likening it to a new physical space, with across the industry testified to the fact that galleries photographic, and video content. Experiential
in an unprecedented way towards digital strategies plans to hold regular exhibitions in it as they would in were putting the investment into them that they marketing was also key, including, for example, VIP
in 2020. Organizations spent significant time and a brick-and-mortar space. usually spent on their live shows. OVRs began to Zoom walk-throughs for top clients and curators.
money trying to identify the best strategies to pursue, incorporate rich video content, commissioned essays
Gagosian Gallery was the next major gallery to offer The success of OVRs has also depended to some
and a number of tools were developed as a result. adding a storytelling aspect to the experience, and
an OVR, in June 2018, but their model differed extent on a gallery’s resources – both in regard
The most commonly used of these and a major area more sophisticated and elegant user experiences (UX).
notably from Zwirner. Rather than creating a virtual to finances and personnel. While there were some
of development for the art market was the online
version of their gallery, Gagosian took their inspiration The biggest changes in OVRs though, were the exceptions, with some smaller galleries able to
viewing room, or OVR.
from the event-based nature of auctions and art increased value of the inventory available and the organize highly creative OVRs that rose above the
OVRs are relatively simple resources: publicly fairs, recognizing that some of their clients were not time collectors and artists invested in them. noise of the myriad of digital projects, many
accessible web pages that feature a work of art or traveling to artworld events like they used to. As a Online platforms that galleries posted their works on medium-sized and smaller galleries with limited
multiple artworks, usually requiring users to result, Gagosian’s OVR featured long texts reminiscent such as Artsy, Artnet, or 1stdibs had previously financial resources in 2020 struggled to create them,
input their email address to enter. The art on these of auction catalogue essays, photography of artworks been seen as best for lower quality inventory, with with some opting instead to increase their
pages may or may not be on view in real life, installed in their Manhattan gallery, and the ability to the general belief that somewhere around $10,000 commitment to aggregators (such as Artsy, Artnet,
and it is accompanied by information about them, instantly chat with someone at the gallery (as one was the accepted price ceiling of online transactions, 1stDibs, and the Sotheby’s Gallery Network), or
and a way to make enquiries. In this way, OVRs might be able to converse with a gallery director at and a reticence to post higher priced works as creating new collaborative platforms online such as
are a web-based outgrowth of the PDFs galleries a fair) in various languages and across time zones. well as publish prices in general, particularly in the 8-bridges or GALLERYPLATFORM.LA to pool their
historically sent to their clients regarding exhibitions Their OVR was also offered for a limited time but in interest of protecting artists’ markets. However, resources in attracting audiences for their exhibitions.
and available works via email. sync with major art events, such as art fairs. For as the pandemic restricted offline sales and events,
Besides galleries, OVRs also had a major impact in the
example, Gagosian’s first OVR was timed for 10 days the quality and price points of the works offered
OVRs are not new for the artworld – and they began art fair sector in 2020. Although art fairs had, for
bracketing Art Basel in Basel (from June 11-20, 2018). online generally rose, both galleries and progressively
being used by galleries as far back as 2007, when almost a decade, offered some portion of their shows
Finally, one other differentiating factor was the their artists also started to take OVRs more seriously
the software company Artlogic started marketing their online or through digital partners, the COVID-19
presence of historical pricing context and detailed and invest more of their time creating better
‘private views’ feature for their gallery partners as a pandemic thrust what had historically been considered
market analysis, which went further than what might exhibitions and experiences, and finally, collectors
more engaging and sophisticated way to present PDFs a supplement to the IRL experience into entirely
be provided in an auction house catalogue. paid more attention as gallery and art fair OVRs
digitally to clients. However, such presentations new prominence. The pandemic also hastened an
became the only public way they could access
were typically not displayed publicly on websites, and While these and other examples of OVRs were in extensive rethink and investment by fairs into how
new works.
were used to present artworks to clients privately, place before 2020, the rise of COVID-19 over the last their sites and online offerings functioned.
shared on a one-to-one basis via email. In January year markedly changed the approach taken to these What made OVRs successful in 2020 were generally
Art fair OVRs presented unique challenges versus
2017, David Zwirner Gallery became the first gallery to tools by galleries and fairs. Hundreds more galleries the same variables that made offline exhibitions
those presented by galleries, the most significant being
use the term ‘online viewing room’, when it launched created viewing rooms as one of the most immediate successful: showing in-demand artists and artworks,
how to make the experience of browsing hundreds
its first publicly accessible viewing room with the aim ways to try to capture or retain their audiences instilling a sense of urgency, scheduling the show
if not thousands of works offered by multiple
of widening their audience by attracting new and who would visit their in-person exhibitions or buy at a good time, having a strong preexisting mailing list,
galleries engaging to users (which was also often an
young digitally-native collectors. Zwirner’s OVRs were from their gallery. According to Artlogic, while and finally, establishing a sales team dedicated to
issue for in-person fairs). Art fair OVRs also faced
simple and straightforward. They generally featured only one in 40 of their clients had activated their OVR the OVR who would be able to immediately follow up
the issue of how to replicate the exciting social aspects
the work of one artist, listed with brief content, features pre-pandemic, one in three clients were with potential buyers. A well-curated experience
and urgency of the fair experience in an online format.
prices, and their availability status. The viewing room using the tool in 2020. Galleries also markedly improved was additionally important, which online amounted
would also only be accessible for a limited period the quality of their OVRs. Alongside Zwirner and to a visually engaging and well-designed UX, as well
of time. The gallery also called the OVR their ‘seventh Gagosian further improving their platforms, OVRs as rich, meaningful, and interesting written,
Art Basel and Frieze (which had both been working on Some of the smaller international fairs with more involvement in fairs in future and concentrate more There is also interest, especially among sellers
OVRs before the onset of the pandemic) were the limited resources partnered with aggregators or other on their own platforms, paralleling some of the of high-priced works, in how to better integrate
most active in the space on their own platforms, organizations to host their events online. Artsy, which trends occurring in the auction sector with third-party relationship-building features into the virtual
and they responded to the challenges by focusing on has organized 475 digital fairs since 2012, hosted 69 aggregators. experience. In other words, how can galleries and art
a number of variables, such as improving load times fairs and events in 2020, including 20 online-only fairs recreate online one of the most important
Looking ahead, the major question is what will happen
and introducing a better user experience. For fairs. Artlogic also expanded into this space, creating art-selling tools that has been proven for centuries –
next with these initiatives, especially when the
example, they promoted features such as the ability online viewing rooms for the Art Dealers Association how a great salesperson introduces a work
artworld starts to revert to being IRL. The general
to better customize booths, the ability to quickly of America (ADAA) fair, and the New Art Dealers of art to a prospective client, with all of the relevant
consensus seems to be that there will be continued
toggle between all of the works a gallery is showing Alliance (NADA) fair, and in 2021, they are reportedly art-historical and market information and
investment in the online space, particularly while
and individual works, and filters that allowed for working with FIAC along with various other fairs. connoisseurship, and make them fall in love with it,
some collectors remain hesitant to resume the same
users to see works presented in more intelligent and Finally, Christie’s hosted the 1-54 art fair OVR in convincing them to spend a significant amount
pace of their previous, hectic, globe-trotting
curated ways (beyond what would ever be possible in October while a scaled-down version of the physical of money they may have never planned on. Collector
schedules. The relatively low expense of executing an
an IRL experience). Additionally, they introduced fair was able to occur. walk-throughs offered by galleries and fairs are
OVR and encouraging sales in 2020 (even if far
functionality such as being able to return back to a one move in this direction but it is as yet unclear how
While there was mixed feedback on the success from what normal sales offer) has also kept galleries
certain spot in a long browsing list if you had left they can be improved upon.
of art fair OVRs during 2020, many galleries felt they focused online.
the page, to easily see another gallery’s booth from
were not able to generate the same level of sales Finally, there is the matter of pricing transparency.
another gallery’s artwork page (rather than having There is also significant interest in better harnessing
or engagement as an in-person event. In an attempt In the early months of the COVID-19 pandemic, with
to fully exit that gallery to go elsewhere), to have the data generated by OVRs as well as streamlining
to create more interest in their programs, some the massive push online and the fear of economic
‘similar’ rooms or artworks recommended to you, and the sales process with digital tools. Some of the
galleries also set up additional OVRs on their own crisis, there was belief that there could be the perfect
to chat live with gallery representatives. Finally, priorities here appear to be better tools to vet buyer
websites to parallel their fair participation (similar conditions for the revolution the online art market
Frieze offered the ability to see works of art in your quality, as well as those to allow sales enquiries to be
to what Gagosian had initially done with its viewing had long pushed for (and one of the most basic
own space through augmented reality. To engage funneled to the correct recipient – and more broadly,
rooms), offering another touchpoint for their expectations of e-commerce) – that prices would now
further with their top clients and establish a level of to be part of a system where enquiries will be attended
collectors during the fair or a UX or content outside finally become transparent for works above $10,000.
VIP experience for them, Art Basel also organized VIP to, nurtured, and followed through on (and not just
their fair exhibitions. In many ways, this paralleled The reality has been that there has been a marked
zoom walk-throughs that were often in collaboration be taken offline or to email), akin to a more corporate
what galleries had long done with their own physical increase in the works offered online for prices in excess
with major collectors. Notably, the lack of physical sales environment. Galleries are also interested
shows or events (dinners, parties, talks) during of the $10,000 mark, although it is not clear how
fairs also encouraged fairs to develop more events in identifying better metrics for what makes an OVR a
in-person fairs. Galleries also hosted virtual collector long this will last or how effective this transparency
that had no relation to physical events, such as Art success outside of the usual site, artist, and artwork
walk-throughs of their fair booths, where directors has been, even though there is a clear consensus
Basel’s OVR:2020 and OVR:20c. traffic numbers. For example, how certain price
would speak about the works that they brought to the that it leads to further sales. For works at the high
points, mediums, styles, edition sizes, types of email
After the forced closure of its Maastricht fair in March fair, and field questions, while some set up the fair end of the market, publicly accessible online sites
campaigns, or online advertising can elicit a higher
and the cancellation in July of its fall New York fair, booths in their gallery spaces and had directors give will still be used for browsing and enquiring about
rate of enquiry and help generate more sales. Digital
TEFAF also entered the space, by holding its inaugural the walk-throughs from there. The galleries running prices, but more traditional, non-scalable, or
marketing and the details around OVR exhibitions
online fair, entitled TEFAF Online in November. TEFAF these adjunct OVRs felt that they were particularly invite-only selling techniques (PDFs, private viewing
are also key, with galleries assessing the amount and
Online was applauded for its unique approach, which important additional tools, as they directed enquiries rooms, and all of the available in-person techniques)
type of promotional material they use as well as the
it called a ‘masterpiece format’, allowing galleries directly to their galleries rather than via the fairs. are likely to continue to win out as the means for
number of events themselves, with some considering
to present only one work, vetted by TEFAF’s experts, Some felt that this could allow them to bypass virtual finalizing their sale.
doing less but featuring higher quality content.
as would be the case for inclusion at their live events.
5.3 | Online Auctions active of the major auction houses in the online-only Figure 5.9 | Increase in Share of Online-Only Sales: Sotheby’s, Christie’s, and Phillips
The shift to online sales in the auction sector was sector in 2020. Sales reached a total of $584 million,
already well underway before 2020 and many an advance of over 650% on 2019 ($77 million). These a. Share of Number of Sales b. Share of Value of Sales 2019 2020
auction businesses were significantly ahead of some sales went from contributing less than 2% to the
of their gallery counterparts in terms of the digital company’s overall public auction sales in 2019 to 16% 80% 18%
73%
16%
transformation of their operations and business in 2020.
15%
practices. However, the increase in online sales and 60%
Sotheby’s online-only sales (covering a range of art 60%
activity brought about by the restrictions imposed
and collectibles) grew from 120 in 2019 to over 12%
by the COVID-19 pandemic was still remarkable, with
400 in 2020. They also achieved their highest aggregate 10%
the total value of sales in online-only formats, and
value for an online sale at $30.5 million for their 40% 39%
9%
prices within those sales, both rising significantly.
Impressionist and Modern Art Day Sale in November. 30%
Besides fine art, sales of luxury collectibles and 24% 6%
Top-Tier Auction Houses
jewelry were also strong online, particularly with the 20%
The dramatic increase in online selling was apparent 14%
introduction of a new BuyNow platform in the US, 3% 2% 2% 2%
across nearly all segments of the auction sector.
which was largely focused on these sectors. Sotheby’s 1%
Notably, the share of total sales accounted for by
luxury auction sales reached almost $640 million 0% 0%
online-only auctions at top-tier auction houses
globally with 28% sold online.47 Sotheby’s Christie’s Phillips Sotheby’s Christie’s Phillips
grew substantially. At Sotheby’s, Christie’s, and Phillips,
the share of value accounted for by online-only Christie’s have also been progressively expanding
sales increased from less than 2% in 2019 to more their online sales, and held just over 200 online-only
than 12% in 2020. sales during 2020, from 83 in 2019 and just 50 in 2013.
Online-only sales values reached their highest
Sotheby’s was one of the first online auction Online sales also brought an influx of new buyers. an increase in the value of over 200% year-on-year.
ever total of $311 million, up over 260% year-on-year
platforms in the market in 1999 in partnership with Across all channels, 36% of buyers at Christie’s in In this segment, there was also a significant number
(from $86.1 million in 2019), and have expanded
Amazon and then in 2003 with eBay. Although 2020 were new to the company, and in online sales of transactions at very high levels, including 15 lots
dramatically from their very small base of less than
these early partnerships were short-lived, Sotheby’s 40% were new buyers. Of those new online buyers, sold for over $1 million, showing a greater willingness
$5 million in 2012. This growth drove a substantial
began to move back into the online sector in earnest close to one third (32%) were millennial collectors. to spend at higher amounts in some categories such
change in share from 2% of total public auction sales
around 2014, with a steady increase in online-only as jewelry.
in 2019 to 10% in 2020. Christie’s also reported strong online luxury sales,
sales since that point. Sotheby’s was also the most
with a 41% increase in lots sold in online auctions, and
47 Luxury sales included jewelry, books, manuscripts, 20th century design, handbags and accessories, wines and spirits, and other unique collectible items.
Phillips also increased their online-only sales, entrant Yongle Auctions is also closely aligned with Figure 5.10 | Share of Online Sales by Second-Tier Auction House Annual Turnover in 2020
tripling in number from 10 to 30, and with values online auction platform Yidian China.48 Yidian enables
rising more than 150% from $4.1 million to $10.7 both galleries and auction houses to create online Share of sales Own platform 3P platform
million. While online-only sales are still a relatively auctions, and cooperated with Yongle in 2020, with a
small share of their auction business, online bidding series of sales totaling a reported $20 million. 50%
expanded significantly in 2020, with the value

40%
of lots sold online (including online bidding in live Second-Tier Auction Houses
16%
auctions and online-only sales) increasing by Online sales were already an important channel for 30%
36%
56% (to $117 million) and accounting for nearly 20% businesses in the second tier, with online access 13%
20% 8%
of sales by value. allowing much wider geographical reach alongside
substantially reduced operating costs in some 10%
24%
Including fine art, decorative art, and a range of 17% 17%
cases. In 2019, the share of total sales values made 10%
collectibles, Heritage Auctions was again one of the
online had already reached 19% in this segment, 0%
largest auction houses in the online auction sector, Under $5m $5m–$10m Over $10m All respondents
and in 2020, based on a turnover-weighted average
with sales of over $504 million in 2020, up 4% from
of sales, this increased to a high of 30%. This was
$483 million in 2019. Online-only sales have
split between sales via auction houses’ own internal © Arts Economics (2021)
consistently accounted for the majority share of the
platforms (17%) and sales made via third-party
sales at Heritage, and they accounted for 58% of total
platforms (13%). Online sales made up a substantially
sales in 2020, stable on 2019. Some of Heritage’s
strongest online sales were in the collectibles sectors,
higher component of those businesses with lower
turnovers, accounting for a reported 46% of the sales
The share of online sales made by
including historical collectibles and comics, and
the company’s fine art sales made up less than 10%
of those businesses with turnovers less than $5 second-tier auction houses rose to 30%
million in 2020, with the majority through third-party
of their business.
platforms (36%). The share of online sales, and in 2020, from 19% in 2019
In China, the top-tier auction houses also conducted the dominance of external, third-party platforms,
online sales, with over 60 online-only sales in diminished with increasing turnover, and those
each of Poly Auction and China Guardian. However, exceeding $10 million in sales reported an average
even in 2020, these sales remained a relatively share of 25% online (with 17% via their own internal
small portion of their businesses at just 3% and 4% platform).
respectively (a combined $50 million). The new
48 Both companies are owned by the former general manager of Poly Auction (Zhao Xu).
Figure 5.11 | Share of Online Sales to Buyer Categories by Share of Auction House Online Sales Although online sales channels have been cited There is often a perception that online sales are used
as means for auction houses to reach new buyers, in only to reach globally diverse buyers. However, in
Share of buyers New buyers Buyers 1–5 years Buyers over 5 years 2020, the majority of the activity involved more practice, the expansion of e-commerce in the auction
established buyers, with many second-tier auction sector has been equally about the wider acceptance
100% houses indicating anecdotally that a lot of their of buying online generally, with local buyers looking
24% online sales were to already established, local buyers for the same ease and convenience in transacting
80% 38% who had bought in both online and offline sales in online in the art market that they have in other aspects
46%
the past. Nearly all auction houses responding to the of their lives. Local buyers (those within the country
survey made sales to new buyers in 2020, but these of the auction house’s reporting location) dominated
60%
45% sales were a minority share of 28% of turnover. sales of second-tier houses (at 64%), and it was
34% On average, 40% of sales went to buyers that they notable that this share was relatively stable regardless
40% 30% had been dealing with for between one and of how much the business sold online. For auction
five years, and 32% were more established buyers. houses with less than 25% of their turnover online,
20% 67% of sales were to local buyers, while for those with
31% Figure 5.11 sets out auction house sales to various
24%
28% more than that, the share of local buyers only dropped
buyer segments based on their total share of online
to 64%, indicating that online purchasing was not
0% sales in 2020. Those companies that were more
1%–25% 26%–50% Over 50% concentrated only on geographically distant buyers,
heavily invested in online sales did make a slightly
but was also used by local buyers out of preference
larger share of sales to new buyers (31% for those that
and for convenience. Some auction houses noted
© Arts Economics (2021) made more than 50% of their sales online), while
anecdotally that even pre-2020, attendance at many
those businesses with a moderate share of up to 25%
live sales had thinned and that some of their
sales online tended to have a much higher proportion
established local clients would only attend presale
Online purchasing was not concentrated only of long-term buyers. While gaining new and younger
buyers was noted anecdotally as a key focus for
viewings, but often preferred to bid online in a live
on geographically distant buyers, but many businesses in this segment, the development
sale or in online-only sales.
of repeat buyers, and retention of first-time buyers

was also used by local buyers out of preference over the longer term was also seen as critical and the
and for convenience focus of their current marketing efforts.
Figure 5.12 | Share of Online-Only Lots Sold (Fine Art Auctions) in 2020
a. Share of Sales by Volume Offline Online b. Share of Sales by Value Offline Online
3% 1% 4%
100% 100% 6%
12% 15%
24% 20%
27%
80% 43% 80%
60% 60%
97% 94% 99% 96%
88% 85%
40% 76% 73%
40% 80%
57%
20% 20%
0% 0%
US Greater China UK France EU US Greater China UK France EU
Fine Art Auctions Online The share of online sales varied considerably by up from only 1% in 2019, and these lots accounted value accounted for by online-only lots was for
Although many decorative art and collectibles sectors region. Of the larger art markets, the UK showed the for 24% of the volume of lots sold. European Old Masters. Although works in older sectors
sold particularly well online in 2020 and dominated highest share of fine art lots sold online at auction, can be more difficult to sell sight unseen due to a
Online sales varied between different sectors of the
the online auction market in terms of value, the move with 43% of the volume of lots and 20% by value greater need for physical inspection of condition than
fine art auction market but all saw a significant
to online auctions also had a notable impact on fine (from just 3% in 2019). Although China has some very contemporary works, in 2020, 20% of the European
increase in 2020, starting at very low bases of 1% or
art sales, raising the value and volume of sales made large online marketplaces that include sales of fine Old Masters lots sold were in online-only sales,
less of the value of lots sold in 2019. The highest
in online-only auctions. Combining data from both art, their traditional auction sector had a relatively accounting for 11% of the value of sales.
proportion of lots sold online was in the Post-War
second- and top-tier brick-and-mortar auction houses low share of online-only sales, with the lowest share
and Contemporary sector, where 25% of the lots sold
and using the database of fine art only sales from of all the major markets at 3% of lots sold and 1%
in 2020 were online-only, accounting for 6% of the
Artory, 22% of the lots sold at fine art auctions in 2020 by value. Online-only fine art lots made up 6% of the
total value of sales in this sector. The highest share of
were marked as online-only sales, double those in 2019. value of the US fine art auction market by value,
Figure 5.13 | Share of Online-Only Lots Sold (Fine Art Auctions) in 2020 by Price Segment
a. Share of Sales by Volume Offline Online b. Share of Sales by Value Offline Online
2% 1%
100% 7%
100% 6%
19% 16% 19% 14%
26% 21% 23% 21%
80% 80%
60% 60%
98% 94% 99%
93%
84% 86%
40% 74%
81% 79% 40% 77% 81% 79%
20% 20%
0% 0%
Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m Over $1m Under $1k $1k–$5k $5k–$50k $50k–$250k $250k–$1m Over $1m
Sales priced over As noted in Chapter 3, the volume of works sold at

different prices at auction was relatively similar
breakdown between offline and online sales by price
level, online-only sales accounted for 21% of the
The biggest advance in share year-on-year
in 2020 was works sold in the segments between
$1 million made up only 6% online to offline, however, the value of online-only value and 22% of the lots sold for less than $50,000. $50,000 and $250,000, which only accounted
sales were focused predominantly on sales at prices At prices over $50,000 their share falls to 3% and for 2% of the volume and value of transactions in
of total online-only below $1 million. Sales priced over $1 million made 13% respectively (although still significantly larger than 2019. The value sold online in this segment grew
values versus 58% for up only 6% of total online-only values in a tiny 0.1% in 2019 at 1% of the value of lots sold and 2% of the to over six times its size year-on-year.
of the volume of lots, versus a majority of value volume). This is even more marked at the higher
offline sales (58%) for offline sales (in 1% of the lots sold offline). end above $1 million, where online sales made up just
2% of all lots sold online at this price level in 2020
While 2020 encouraged a greater volume of
(versus 98% offline) and accounted for 1% of the value
transacting online, it is still the case that most sales
of this price segment.
are at price levels below $50,000. Considering the
Figure 5.14 | Share of Online Sales (via Invaluable) by Auction House Turnover Level in 2014, 2019, and 2020 Figure 5.15 | Share of Online Sales (via Invaluable) by Auction House Turnover Level 2017–2020
Share of sales 2014 2019 2020 Share of sales 2017 2018 2019 2020
30% 50%
26%
41% 42%
25% 23% 40%
34%
20% 29%
30% 27%
15% 25%
15% 22% 23% 22%
11% 20% 17% 18%
10%
10% 8% 14% 15% 13%
15%
7% 11% 11% 11%
5% 4% 10% 6% 6%
7% 7% 8% 8% 8%
3% 5% 5% 4%
0% 0%
Under $1m Over $1m All auction houses Under $250k $250k–$500k $500k–$1m $1m–$5m $5m–$10m Over $10m All auction houses
© Arts Economics (2021) with data supplied by Invaluable © Arts Economics (2021) with data supplied by Invaluable
Auction Aggregators pushed more auction houses to increase the international auction house members of Invaluable than $250,000 conducted 42% of their sales
The estimates of total online auction sales in online component of their sales. For many houses, confirms the expansion of online sales, and the online via Invaluable in 2020, four times the average
2020 do not include the revenues of third-party particularly those with lower turnovers, they have success of this platform in terms of the share of sales of all other segments. Notably, while these smaller
auction platforms or aggregators that conduct or chosen to do so via independent online platforms, or of its members. The data shows that the share of houses saw some of the largest increases in share in
facilitate sales on their platforms for auction houses in combination with their internal online platforms. online sales conducted online (via Invaluable) out of 2018 and 2019 and continued to grow in 2020,
or offer other intermediation services for offline all sales was up 3% on 2019 to 11%, and has almost advances were significant for high-end auction houses
Invaluable is the largest independent global
businesses in the art and antiques market online. tripled over the last six years. in 2020, with those with turnover greater than
platform for online auctions of fine art, decorative art,
The rising costs of running and operating physical $1 million increasing their share online by 7% and an
and collectibles, working with around 5,000 auction Smaller auction houses accounted for the fastest
premises and the other operating costs of live sales increase of 3% in the $10 million-plus segment.
houses in more than 50 countries. An analysis of data growing share of these online sales in recent
combined with the drive to find new buyers and
supplied for this report on a sample of about 500 years. Auction houses with annual turnover of less
advances in viewing and bidding technologies have
Figure 5.16 | Share of Collectors Purchasing Online by Region Figure 5.17 | Share of Collectors Purchasing Online by Generation
Share of collectors Online auction Gallery OVR Art fair OVR 3P platform Instagram Share of collectors Millennials Gen X Boomers
70% 60%
64 63 52% 52% 51%
60% 58
55 55 50% 47% 48%
54 54 54 54 54 46%
51 51 43% 43% 44%
49 41% 42%
50% 46
48
46 46 46 46
48 39% 39% 40%
43 42 42 43 42
40% 35% 36% 35%
40 39 41 39 40 41 40 40 34%
40% 37
35 36 35 36 34 29% 28% 29%
32 33
31 31
33
31 30% 25%
30% 26 26
24 24
22 20% 18%
20%
10% 10% 6%
0% 0%
US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico Online Gallery Art fair Artist’s Gallery 3P Instagram Other
China auction OVR OVR website website, email platform social media
5.4 | HNW Collectors and Buying Online spanned from browsing and information gathering Gallery OVRs were the second most popular Instagram was by far the most widely used social
Despite the distractions in other areas of their lives to completing purchases.49 overall (47% of the sample used them to purchase media channel, with just over one third (34%)
and challenges posed in interacting with the market art), and 43% of HNW collectors purchased art of collectors having purchased art using Instagram
The most commonly used channel for purchasing
during 2020, collectors were still highly active in via gallery websites, images, or emails. A majority in 2020, that is, had bought an artwork found on
art online in 2020 was through online auctions, used
the art market, with online channels often the primary of collectors in the US, Germany, and Mexico had Instagram and purchased directly or through a link
by 49% of the sample to complete a purchase.
or only way collectors could access and communicate used a gallery OVR to purchase a work of art in 2020. on Instagram to an artist, gallery, or other seller.
This was the highest in all regions, apart from some
with galleries, auction houses, fairs, and artists. Art fair OVRs were the third ranked overall, with The widest use of Instagram was in the US, Germany,
of the Asian markets (Mainland China, Taiwan, and
A survey of 2,569 HNW collectors carried out by Arts 45% of collectors having made a purchase, with and the UK (46%, 42%, and 40% respectively). On
Singapore) where gallery OVRs were more popular.
Economics in conjunction with UBS Investor Watch a higher-than-average majority in both the US and Instagram particularly, but also across other online
Collectors in Asia also tended to have lower use of all
at the end of 2020 showed significant activity by Germany. Fair OVRs rated ahead of third-party platforms, there was a generational component to
online platforms versus their global counterparts.
collectors across a range of online platforms, which platforms, used by 39% of the sample to buy art. the prevalence of use for purchasing. Millennials were
more likely to have used all of the online platforms
49 The full results of this survey are presented in Chapter 6.
listed in Figure 5.17, but while collectors were
Figure 5.18 | Use of Online Platforms During 2020 somewhat more aligned regarding the use Even if some collectors did not purchase art through
of online auctions, millennials had significantly wider online platforms in 2020, they all reported a very
Share of collectors Purchased art Browsed works for sale Other uses Did not use use of OVRs (both for fairs and galleries) and high percentage of use for browsing works of art for
social media channels. Although usage increased in sale, reading content, and other purposes. Around
100% 2020, it tended to do so for all age groups, and 90% of all HNW collectors surveyed had visited a
12% 10% 11% 11% 10%
14%
20% therefore the high use of online channels by millennials gallery or art fair OVR during the year, with less than
13% 12% 13% 30%
12%
80% 14%
15% is not necessarily connected to the COVID-19 half using them to finalize a purchase. The lowest
17% pandemic and is consistent with previous research level of use, although still a high majority, was
21%
27% 30% 32%
on HNW collectors. This once again reinforces Instagram and other social media platforms, with
60% 31% 34% 19%
32% the findings that younger generations of collectors between 20% and 30% of collectors not having used
29%
are more active online. these in 2020.
40%
28%
49%
Around 90% of all HNW collectors surveyed
47% 45% 44% 43%
20% 39%
34%
23%
0%
had visited a gallery or art fair OVR
Online
auction
Gallery
OVR
Art fair
OVR
Artist’s
website
Gallery
website and
3P
platform
Instagram Other
social media during the year, with less than half using them
email
to finalize a purchase
Figure 5.19 | Price Range Most Often Used to Purchase Art (Online versus Offline) in 2020 of top prices online, notably those in Asia and Figure 5.20 | HNW Collectors’ Preferences
particularly Taiwan, which had by far the highest for Viewing Art for Sale in 2020
Share of collectors Online Offline price ceiling (with individual collectors reporting
having paid over $50 million online during their years No preference
25 12%
22%
collecting), and Mexico (over $20 million). However,
21%
20
the higher spending criteria for inclusion in the
17% 17% survey in 2020 may have influenced these shares
15% OVR or online
15 relative to other years. exhibition
22%
10 7% 19% 20% Despite a relatively high level of use by HNW collectors
18%
15% 16% in 2020, online channels were not necessarily their
5 Offline
1% 9% first preference for buying art. Auction houses and exhibition
66%
3% dealers were rated the most preferred channels for
0
Under $5k $5k–$10k $10k–$50k $50k–$100k $100k–$250k $250k–$1m Over $1m purchasing. However, despite the continuing advance
of e-commerce in the gallery sector, most collectors
still preferred to buy offline from a gallery. Of the © Arts Economics (2021)
36% of collectors that chose galleries and dealers as
their most preferred way to buy, 57% preferred to
purchase something in the actual physical gallery or
The survey revealed that younger collectors were Collectors were also asked about the highest When collectors were asked their preferences for
premises, 29% from a gallery website or OVR, and 14%
more willing to purchase at higher prices online price they had ever paid online. Although 62% had viewing art for sale, most chose offline:
by email or phone. Similarly, 14% of collectors chose
in 2020. Of those collectors who bought works online, not exceeded $500,000 online and sight unseen, – 66% of the sample reported that they preferred to
art fairs as their first choice, but 64% would opt for
25% of millennials regularly purchased at prices the majority of collectors (57%) had paid more than attend a physical exhibition at a gallery or art fair;
a real fair over an OVR. Only a very small 5% of collectors
in excess of $1 million versus 13% Gen X collectors and $100,000 for an individual work. One third of the – 22% preferred using an OVR or online exhibition; and
picked third-party platforms as their preferred way
15% Boomers. The survey revealed that HNW collectors HNW collectors surveyed had spent over $1 million – 12% had no preference of one over the other.
to buy, while just 4% liked Instagram the best.
spending by price was not significantly different online on a work of art.
Including only those that had a preference either
online versus offline, and in fact, across all generations There were some regional differences. Instagram
There were some indications from the survey that way, 75% preferred to view art for sale offline. Again,
in 2020 given the restrictions in place on accessing preferences were as high as 10% in the UK versus
the price ceiling for works of art selling online this varied across regions, for example, there were
offline transacting, those spending regularly at only 1% in France, Italy, and Singapore. However,
was rising over time. The share of those having not stronger preferences for offline in Germany (84%) and
over $1 million online was slightly larger (20%) than preferences for online versus offline were relatively
exceeded a price of $50,000 online was 65% in Mainland China (83%) versus Taiwan and Singapore
the share spending at that level offline (15%). consistent both between generations and across
2019 and 72% in 2018 versus just 33% in 2020 in this (both 66%), but the majority was consistent across
regions, with most preferring the latter to engage
sample. Some regions showed much higher levels all regions.
with the market.
248
While this and previous surveys have shown but were happy to contact the gallery for a price.
a considerably higher level of activity by younger Only 3% said it was not important (and 1% would
collectors online, this was not their preferred prefer not to have the price posted). Some collectors
way to transact either: 76% of millennial collectors noted anecdotally that they felt price transparency
preferred offline, which was even slightly ahead was one of the most positive and progressive
of Gen X (75%) and Boomers (71%) in this survey. outcomes from the crisis, which they hoped would
Apart from being able to view and better assess the be maintained in future both on- and offline.
works’ scale, condition, color, and other physical
The issues surrounding price transparency both
features, most collectors also placed a high or very
on- and offline have been widely debated before the
high value on the experience and sense of discovery
COVID-19 pandemic, although this did reignite the
and excitement of viewing works in person,
debate due to the massive increase in online activity.
alongside being able to discuss these discoveries
One common point raised is that more transparent
and having other forms of social contact with
prices can help to encourage new collectors to
artists, galleries, and other collectors at live events.
engage with the market. While this is invariably true,
While purchasing online may not be a first preference this survey indicated that it was in fact established
for many, one important benefit of the development collectors that had some of the strongest preferences
of e-commerce and of online viewing rooms has been for more transparent pricing: over 70% of those
the increase in price transparency for collectors. collecting for more than 20 years felt it was important
Although gallery policies still vary regarding posting or essential to have a price posted when looking at
prices online, the shift towards greater price art to buy online, versus just 57% for those collecting
transparency in 2020 through online viewing rooms for less than two years. It was also ranked significantly
has been seen by many collectors as very positive. higher by those who spent the most in the last
Over all of the collectors surveyed, most (72%) felt it two years as well as millennial collectors, with 77%
was important or essential to have a price posted deeming online pricing essential or important versus
when they were browsing through works of art for 69% Gen X and 58% Boomers.
sale online, while a further 25% thought it was helpful
5.5 | Website Traffic and Social Media of this will be done through online outreach and In terms of traffic numbers, as indicated by the In the gallery sector, including online-only galleries
As more sales continue to move online, one of the digital marketing as the art market shifts very slowly company’s global ranking, large global marketplaces and traditional galleries, the highest ranking sites
most critical issues for auction houses and dealers back to live alternatives. such as Amazon, eBay, and Etsy ranked highest, from this selection, and two of the consistently highest
is attracting traffic to their websites. however, these positions are based on visitors across ranking for several years were saatchiart.com and art.
In the auction sector, for both top-tier and second-tier
all products, including art and antiques. The highest com (which includes posters and non-original prints),
The dealer survey showed a strong reliance on auction houses, online channels have been critical for
global rankings for websites that specifically sell art both with around 2.1 million visitors per month at the
already established clients for online sales, with 68% finding new buyers and driving new traffic, while
and antiques were third-party platforms of different end of 2020, in comparison with 100,000 to 200,000
of online sales going to buyers that were already encouraging repeat visits and longer retention were
kinds, notably liveauctioneers.com, averaging monthly for the traditional offline galleries such as Hauser
familiar with the gallery (including 30% that were seen as a key focus for many in 2021.
visits of 5.6 million at the end of 2020, 1stdibs.com and Wirth and Gagosian. However, visitor numbers are
buying online for the first time). Maintaining and
In 2020, internet penetration reached 60% of the averaging 5.1 million, and Invaluable.com (4.3 million). only a partial measure of performance. For example,
nurturing relationships with existing collectors was
world’s population or around 4.7 billion users while These third-party platforms have been pivotal in the looking at two top-tier galleries, while there were 10
recognized as the top priority for galleries in 2020.
the number of active users of social media grew to dealer and auction sectors over the past decade, times as many visitors to Gagosian.com as Ropac.net,
However, looking to the future, although this remains
4.1 billion, with an increase of almost two million users allowing businesses to access large online audiences those visiting Ropac spent three times as long and
key, the need to expand their reach to new buyers
per day in the second half of the year.50 Although without having to build the technologies required visited more pages in 2020 with a significantly lower
in new regions and demographic segments was also
those visiting art-related content may be a small in-house. However, as technology becomes more bounce rate (46% versus 66% from Gagosian.com).52
identified as one of their most important goals in
segment of these totals, the figures show the accessible and less expensive, some businesses are Visitor traffic therefore gives just one indication
the coming year, with many considering that much
vast level of online engagement and the embedded increasingly using these less or in conjunction of level of interest or breadth of online popularity of
nature of transacting and communicating online with their own platforms. In the auction sector, some a particular site, but it does not indicate their success
One of the most in everyday life. A key focus for the art trade therefore
has been how to attract the attention of potential
experts noted that bidders have been becoming
increasingly sensitive to differentials in charges, and
in making sales, with a key challenge remaining in
how to convert more traffic into a larger number of
critical issues for auction buyers and driving traffic to their websites. this had made it more difficult for their businesses active buyers.
to pass on the premium required by the platforms on
houses and dealers Table 5.1 shows the global ranking of a selection of
top of their own buyer’s premium, particularly
However, in the traditional auction house sector,
different kinds of companies of different sizes involved as was the case for the last two years, Heritage
is attracting traffic to in the art and antiques market in 2020, based on
when it appeared that they could access the same
Auctions had one of the highest global ranks with
service on their own websites with a lower charge.
their websites website traffic and social media followings.51 These
rankings change daily and represent only a snapshot
This still has to be weighed up against the abilities of
2.6 million monthly visitors. They were followed by
Sotheby’s and Christie’s with 2.3 million and 2.2
the platforms to bring new bidders and promote
of a sample of companies at a point in time to million respectively. Heritage also showed a higher
auction businesses to a much wider audience globally
illustrate some of the differences in the sector. level of engagement, with visitors spending longer
than they would be able to do on their own.
50 Statistics from Datareportal, 2020. 52 A website’s bounce rate is the average percentage of users who view only one page before leaving the website.
51 Traffic statistics are from SimilarWeb, extracted in December 2020. The social media statistics are taken directly from the source on social media and not from these
databases. Statistics quoted for visitors per month refer to December 2020. It is important to note that some platforms cited operate in multiple markets, with
dedicated platforms in each, but the tables refer only to one of their sites (and the combination of traffic figures from all sites would give them a higher ranking than
is indicated).
and visiting slightly more pages, however, the auction

platforms like Invaluable and the-saleroom.com
expanding online-only auctions (which increased
over 250% year-on-year from 2019). Artsy also hosted
Art fairs were also successful at directing traffic to
their sites, with the major fairs such as Art Basel
Just over one third of
all retained visitors for longer as they looked through 69 online-only art fairs and offered data and editorial and Frieze having between 200,000 and 300,000 HNW collectors
a greater range of inventory from multiple houses. content.53 Artnet provides online auctions, a gallery visitors per month. Although they had a lower
As third-party platforms have expanded, they have marketplace, and an art-price database alongside volume of visitors, fairs such as TEFAF and some of had used Instagram to
also become an initial point of call for many buyers in its editorial offering (and also significant uplift in their the fairs in Asia, including KIAF and Art021, had purchase art in 2020
their search for art and antiques online, attracting online auctions in 2020, with fee-based revenues significantly longer engagement with visitors than
more visitors online than the individual auction houses increasing 25% from January to November).54 Their some major fairs, while ArtRio had the longest
they represent. As concerns have grown in the sector multifaceted offerings and established online retail and in the sample. art-specific Instagram accounts, Art Basel had the
about the loss of brand identity for businesses, auction marketplaces have seen visitors to both of highest number of followers (2.1 million), followed
Social media continued to be one of the key channels
some of the major platforms, most notably Invaluable, these major platforms increase substantially in 2020. by Artsy, Sotheby’s, and Gagosian (at 1.3 million each).
used by the art market to reach new audiences
have offered alternative solutions to auction houses, Although it still has by far the most users globally,
with content and generate sales. The survey of HNW
by offering them the online sales software and Facebook is less relevant for most businesses in
technologies to host sales on their own websites, Art fairs were also collectors showed that just over one third had
used Instagram to purchase art in 2020, while similar
the art market, but most maintain a presence of some
powered by Invaluable, but maintaining their front end.
successful at directing traffic surveys in previous years showed high levels of
kind on the platform, with companies such as
Artprice.com and Artsy leading in terms of likes.55
There are also online marketplaces listed in Table 5.2 regular use. Dealers also commented that social
that straddle several different sectors of the market, to their sites, with the media, and particularly Instagram, was the key way
Artsy and Artnet also lead on Twitter due to the
editorial nature of their platforms.
including auctions, retail, content production, major fairs such as of making the new online content that they had
data, and other offerings. Two of the most popular generated accessible, with many noting that they
art-specific platforms of this kind are Artsy and Art Basel and Frieze having would be continuing to increase their investment
Artnet, which both generate some of the highest
monthly traffic of all sites in the art market,
between 200,000 of time and resources in building their presence
on key platforms. Galleries in China also noted that
with 3.5 million to over 4 million monthly visitors. and 300,000 visitors they had increased their use of social media to
These have not only expanded their visitors, but connect with buyers in 2020, with the dominant
also the range of offerings. For example, in 2020, per month platform being WeChat. Galleries also explored WeChat
Artsy covered a range of markets, including a MiniPrograms that enable more dynamic navigation
marketplace for 3,200 gallery partners, as well as to both content and e-commerce, while also allowing
partnering with traditional auction houses and purchases without leaving the platform. Of the
53 Information supplied by Artsy in 2020. 55 Facebook’s active users were estimated as 2.7 billion in late 2020 versus 1.2 billion for Instagram and WeChat, and 300 million for Twitter. Datareportal (2020)
54 Artnet press releases, 2020, at www.artnet.com/investor-relations/corporate-news/Artnet_PressRelease-No-2-December_2020_ENG%20v1.pdf Digital 2020: October Global Statshot Report, available at datareportal.com/reports/digital-2020-october-global-statshot.
Table 5.1 | Website Metrics: Selected Companies in 202056
Global Rank Visit Duration Twitter Instagram Facebook Global Rank Visit Duration Twitter Instagram Facebook
2020 (mins) Followers Followers Likes 2020 (mins) Followers Followers Likes
a. Online-Only and ii. Third-Party Retail
Online-Offline Galleries Marketplaces/Platforms
saatchiart.com 19,923 04:09 222,800 784,000 438,373 amazon.com 11 07:11 3,500,000 1,695 29,635,167
art.com 21,052 02:35 29,400 45,300 443,028 ebay.com 28 06:41 735,800 1,000,000 11,040,798
singulart.com 35,738 03:49 349 67,200 112,069 etsy.com 60 06:18 2,400,000 2,600,000 3,938,544
bluethumb.com.au 85,308 06:36 1,637 54,100 57,129 1stdibs.com 10,605 03:42 19,900 622,000 121,306
kazoart.com 180,578 01:57 1,989 14,700 112,960 rubylane.com 25,132 04:45 10,500 18,600 251,604
hauserwirth.com 230,012 01:30 78,700 561,000 44,694 artfinder.com 44,079 06:28 97,700 66,000 266,013
gagosian.com 231,729 01:05 386,700 1,300,000 175,579 artsper.com 75,137 03:12 9,625 77,600 374,327
davidzwirner.com 250,305 01:44 82,600 628,000 37,238 ocula.com 162,605 00:38 5,237 131,000 55,470
lumas.com 258,837 02:05 8,293 57,100 186,249 artquid.com 175,747 02:58 2,526 2,056 30,014
theartling.com 328,937 01:08 1,239 43,600 47,734 artspace.com 185,641 00:58 208,500 393,000 102,060
riseart.com 355,633 01:27 66,300 39,900 47,965 goantiques.com 396,931 00:28 171 22,700 7,662
pacegallery.com 426,540 01:32 133,300 979,000 37,893 artweb.com 511,688 01:59 29,800 n/a 25,209
ideelart.com 451,844 00:28 1,803 58,700 7,413 artrepublic.com 604,640 00:53 6,849 59,800 17,171
whitecube.com 530,952 01:15 121,200 766,000 60,705 kooness.com 912,944 00:59 289 44,800 12,730
victoria-miro.com 583,116 00:47 23,400 328,000 27,409 artplode.com 1,365,622 01:48 40,700 2,211 2,511
kunzt.gallery 737,151 08:34 377 11,700 7,272 fineartmultiple.com 1,389,822 01:04 223 3,152 4,533
zatista.com 789,309 02:29 1,319 1,591 5,938 newbloodart.com 1,945,595 03:41 1,718 5,548 2,629
artstar.com 870,566 00:58 no 25,500 3,132 masterart.com 2,534,564 01:00 1,173 n/a 7,324
degreeart.com 1,257,505 01:15 7,452 15,200 9,858 artlead.net 2,778,518 01:01 265 5,295 3,928
ropac.net 1,360.900 03:44 10,100 213,000 44,492
56 Note that many companies offer a range of services, including combining auction and retail sales, making them difficult to classify. Companies were classified based
on their most relevant link to art sales or where their primary focus was in 2020. Measurements were taken in December 2020.
Table 5.1 | Website Metrics: Selected Companies in 2020 (continued)
Global Rank Visit Duration Twitter Instagram Facebook Global Rank Visit Duration Twitter Instagram Facebook
2020 (mins) Followers Followers Likes 2020 (mins) Followers Followers Likes
b. Auctions
i. Bricks-and-Clicks iii. Third-Party Platforms
ha.com 17,201 03:57 55,100 15,900 85,216 liveauctioneers.com 8,376 05:08 3,008 8,917 19,356
sothebys.com 20,942 02:33 121,600 1,300,000 663,750 invaluable.com 11,640 03:24 5,587 7,283 61,742
christies.com 23,163 02:46 126,300 892,000 314,279 auctionzip.com 11,898 05:47 4,636 155 40,239
bukowskis.com 32,525 03:11 1,082 61,300 20,228 the-saleroom.com 12,343 07:28 6,968 3,467 7,825
bonhams.com 33,328 02:24 45,300 85,600 50,619 artsy.net 15,764 02:19 1,700,000 1,300,000 892,866
lauritz.com 33,686 04:48 n/a 29,600 35,611 auctionet.com 26,860 05:16 85 11,000 28,332
dorotheum.com 44,442 04:19 1,917 21,700 25,742 drouotonline.com 43,284 10:45 11,900 52,200 102,152
phillips.com 62,685 01:58 42,900 245,000 64,021 bidspotter.com 56,466 07:42 1,170 432 5,116
Artcurial.com 155,228 02:35 11,000 74,700 21,742 auction.fr 60,491 03:03 788 1,918 5,436
saffronart.com 651,427 05:52 2,559 21,400 30,521 lot-tissimo.com 60,576 07:20 40 n/a 912
bidsquare.com 137,776 03:04 876 3,114 5,391
ii. Online-Only epailive.com 175,631 02:01 950 1,158 208
igavelauctions.com 266,218 02:40 888 2,475 1,748
catawiki.com 11,091 04:05 4,102 30,700 882,638
barnebys.co.uk57 281,276 00:44 4,790 20,100 36,638
artnet.com 15,728 01:36 1,900,000 1,100,000 376,876
plazzart.com 359,351 02:33 369 617 5,018
artprice.com 42,341 04:11 29,900 3,497 4,969,486
lofty.com 720,020 00:16 1,347 504 15,914
expertissim.com 366,896 01:10 2,002 1,182 4,643
interencheres-live.com 1,921,256 04:08 3,489 11,700 57,170
astaguru.com 1,323,395 04:19 5,161 88,200 295,042
hihey.com 3,053,875 00:40 20 319 159
artscoops.com 3,597,391 03:58 n/a 14,300 3,817
aucart.com 4,057,980 02:31 n/a 26,000 1.323
thirdman.auction 9,535,822 00:15 72 139 204
57 Barnebys.com is part of Barneby’s Group which has platforms across eight markets, each with dedicated websites including Barnebys.se, Barnebys.co.uk and six
others, plus ValueMyStuff, Collectors Weekly and SAS/Blue Dog. The combination of traffic figures from all sites would give them a considerably higher ranking
if considered together.
258
Table 5.1 | Website Metrics: Selected Companies in 2020 (continued)
Global Rank Visit Duration Twitter Instagram Facebook

2020 (mins) Followers Followers Likes
c. Art Fairs
artbasel.com 149,200 02:03 743,200 2,100,000 463,823

frieze.com 152,816 01:35 277,000 577,000 140,951
Arco 180,883 02:22 40,800 88,900 50,811
affordableartfair.com 225,328 02:51 16,600 84,800 43,984
tefaf.com 320,439 05:24 14,100 85,400 60,409
parisphoto.com 1,590,953 01:26 40,800 189,000 132,276
thearmoryshow.com 1,631,759 01:48 74,800 186,000 38,999
kiaf.org 2,214,447 06:00 n/a 17,600 4,123
art021.org 2,288,472 05:23 n/a 10,700 1,599
fiac.com 2,755,240 01:31 32,800 166,000 114,133
1-54.com 3,221,171 00:17 7,405 97,100 21,590
artrio.com 3,998,303 07:13 2,383 51,800 109,335
zsonamaco.com 4,229,111 01:56 53,800 138,000 83,122
brafa.art 4,352,428 01:23 4,255 20,700 22,899
contemporaryistanbul.com 4,506,993 03:22 26,000 119,000 27,666
artcologne.com 5,045,936 02:30 1,310 23,600 13,172
expochicago.com 5,520,083 00:51 5,690 18,800 13,723
masterpiecefair.com 5,670,997 01:47 10,700 42,800 12,757
artbrussels.com 11,916,861 04:53 13,500 52,800 29,069
artbeijing.net 26,054,469 03:05 138 269 n/a
© Arts Economics (2021) with data from SimilarWeb, Facebook, Twitter, and Instagram. Data measured in December 2020.
5.6 | Conclusions ‘…Our big challenge is that online-only sales and timed Similarly, in the dealer sector, the majority of While art fairs had been the dominant priority
The art market has seen more development and sales are slower and can’t replicate, in the same way businesses predicted the increase in online sales in for the majority of dealers in 2019, online sales
engagement online in 2020 than ever before. The for the buyer, the excitement of attending a sale in person, the sector would be sustained. Only 7% of dealers became a much greater focus in 2020. Even looking
ability to communicate and continue trading online although bidding in online-only sales can in itself be surveyed thought that online sales would decline, forward to 2021 when more live events may
during the COVID-19 pandemic has been crucial very compelling for the buyer in other ways. Selling live with 67% expecting them to increase even further. return, online sales were still the second highest
for business survival and most agree that many of online tends to be a slower process as well, as more Mid-sized galleries were the most bullish about their priority and remained ahead of art fairs.
the digital changes that occurred in 2020 will be bidders tend to be competing for each lot, and without prospects. A majority of dealers at all levels predicted
Dealers made significant inroads in developing
maintained in future. the trigger of a live audience in front of them, a rise in sales. This view is not necessarily driven
their online presence, with some investing in
auctioneers conducting such sales on the rostrum have by the pandemic as it has been the case for the last
However, relatively few businesses in the art market augmented reality, virtual reality, and other tools
to take extra care to ensure that they do not bring three years that most dealers thought online sales
seemed ready to shift to a solely online format as well as remarketing their websites as OVRs.
down the hammer prematurely and, as they should, would increase. But the pandemic did move digital
anytime soon. Many collectors transacted online in While the commercial results from some of these
reopen the bidding where necessary if competing bids strategies more into the forefront of many dealers’
2020 as there were no other options, but, for most, strategies were mixed, dealers and collectors
come in at the same time…’ businesses and plans.58
it is still not their preferred method of engagement noted anecdotally that the quality of the content
under normal circumstances. Many commented that they will continue to test offered online in 2020 had improved significantly
In the auction sector, most companies welcomed the

and improve the formats and lengths of online sales
in future, based on bidding activity and other metrics
When asked about the as businesses sought to differentiate themselves
among the vast range of offerings. Nonetheless, some
efficiency and cost savings of the online format, with
margins already under increasing pressure and the
they have been able to gather to help optimize future of online sales, the collectors noted that the ones that stood out the
the online dynamics. Most businesses are therefore most were often the dealers who had opted for
costs of staffing and premises becoming prohibitively
likely to proceed with a combined offline-online verdict was almost different and more individual approaches, including
high for traditional auctioneering, particularly at the
lower end of the market. However, they additionally
model in future that mixes online-only sales with live unanimous: 94% of auction elements of low-tech and offline outreach. While
auctions and related exhibition events. When asked new technologies were useful for some galleries,
noted that as more sales shifted online, there were
also significant challenges, particularly given the
about the future of online sales, the verdict was houses surveyed expected they did not automatically provide marginal gains –
slower nature of online sales, generating the same

almost unanimous: 94% of auction houses surveyed
expected online sales to increase over the next
online sales to increase over especially to the extent that their adoption had
become saturated in the market or the amount of
excitement as a live auction.
five years, including 40% predicting a significant rise. the next five years online content overwhelmed the capacity of collectors
60% of companies with turnover greater than viewing it. While online strategies undoubtedly
$10 million anticipated more online sales in future. helped in the absence of other options, they were
No respondents projected a decline. not a guarantee of success, and a focus on unique
58 When asked their views on the future of online sales in previous surveys, 62% of dealers thought they would increase in 2017, 72% in 2018, and 67% in 2019.
Figure 5.21 | Dealers’ Views on Growth of Online Sales (for All Dealers) in 2021 ‘…There is an incomplete urge to consider online sales A survey by Artsy of gallery professionals in 2020
as a separate vehicle and many of my colleagues (including both partners and non-partners of the
Share of dealers Increase Same Decrease put effort there as if it is a separate business distinct marketplace) indicated that galleries posting prices
from other marketing and communication channels. were six times more likely to make sales on online
100% 3% 4% It is clear that using new technologies and delivering platforms during the year. A majority (66%) of those
7% 10% 6% 8%
a better user experience are helping many firms to surveyed posted prices, and of those, only 5%
23%
20%
80% 26% 25% increase education and engagement. I do not believe it reported not making a sale in 2020.59 The demand for
28% 38%
is, for those of us selling more valuable works of art, greater price transparency was also highlighted by
a stand-alone tool, but rather one important one HNW collectors in 2020, and the majority felt it was
60%
among many channels through which we enhance the important or essential to have a price posted when
experience of our clients. Too much of the online they were browsing through works of art for sale online.
40% experience is contemplated as a ‘buy it now’ feature
74% 74%
67% 67% To what degree the market stays online when the
62%
58% and should be ‘engage now’…’
COVID-19 pandemic subsides has been debated often
20%
While most saw online strategies as a complement during 2020. All indications from galleries and auction
to efforts elsewhere, some were increasing their houses suggest that, for the most part, e-commerce
0% investment online more dramatically, shifting to an is likely to account for an increasing portion of their
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
online-only model with exhibitions in satellite turnover in 2021 and beyond. While collectors have
locations and pop-up spaces, as strategic and cost stepped over the line into online buying during 2020,
© Arts Economics (2021) concerns already apparent before 2020 had forced and some have shown high levels of activity, it still
some businesses to evolve. This will undoubtedly may not be their preferred choice for viewing or
continue to promote the inclusion of galleries purchasing art in the future. Therefore, how to ensure
content, specific strengths, and traditional know-how Dealers felt that the use of online strategies and without a physical premises in art fairs and gallery that the increase in digital sales and communications
were also key. e-commerce needed to be considered alongside and associations as these galleries move further into exists well alongside the excitement and social
complementary to their offline initiatives, and the mainstream. contact that comes from visiting exhibitions and
Many dealers noted that they were keen to return
that strategies and programs in future would have attending live events is a question that businesses
to live exhibitions and events, but most reported Price transparency has been an important and much
to contain elements of both. are all still facing.
that they would not revert to the ‘way things were’ debated aspect of the development of OVRs and
and that the future would be one where online one welcomed by collectors. It was also shown in this
and offline strategies were much more connected. and other research to be successful for many dealers.
59 Artsy (2021) Artsy Gallery Insights 2021 Report, available at www.artsy.net.

Global
Wealth and
Collector
Perspectives
266 6 | Global Wealth
1 | Theand Collector
Global Perspectives
Art Market in 2019 267
Key Findings
Global 1. In 2009, in the fallout from the global financial crisis, 6. 36% of HNW collectors would prefer to purchase
Wealth and the number of billionaires worldwide fell by 30% art from overseas galleries in 2021, with 43% opting for
and their wealth plummeted 45%. In 2020, the number local businesses, and 21% being indifferent.
Collector
of billionaires rose 7% and their wealth grew 32% over
Perspectives the year. 7. 46% of HNW collectors focused only on galleries
they had bought from before in 2020, with a further one
2. Surveys of 2,569 HNW collectors conducted by third doing this alongside being open to working with
Arts Economics and UBS Investor Watch in 10 markets new galleries. 41% were also only buying works of artists
indicated active engagement in the art market despite familiar to them or whose work they had bought before.
the COVID-19 pandemic. 66% of those surveyed reported
that the pandemic had increased their interest in 8. HNW collectors will be active in the market in 2021,
collecting, including 32% who reported it had significantly with the majority (57%) planning to purchase more
done so. works for their collections, and just over one third (35%)
planning to sell works.
3. Millennial HNW collectors were the highest spenders
in 2020, with 30% having spent over $1 million versus
17% of Boomers.
4. Despite the restrictions in place, HNW collectors still

purchased through a range of channels, with 81% having
bought art from a gallery in 2020, and 54% at auction.
5. Dealers were the most preferred channel for purchasing

art, with the majority of HNW collectors (57%) preferring
to buy from their gallery or physical premises, while 29%
liked to purchase from them online and 14% by phone
or email.
268 6 | Global Wealth and Collector Perspectives 269
6.1 | Global Wealth in 2020 quarters, being one of the first major art markets Figure 6.1 | Growth and Estimates in Regional and World GDP 2008–2023
The COVID-19 pandemic triggered one of the to shut down its businesses and cancel events.
biggest global recessions in decades, with growth However, by the end of 2020, economic activity had Annual growth EU G7 World Emerging/developing economies China
in world GDP falling by 3.5% over 2020.60 To contain largely normalized and, despite a fall in growth, it
the pandemic, most countries imposed stringent was one of the few major economies not to enter into 12%
lockdown measures in the first half of the year and a recession, with growth in GDP for Mainland China 10%
economic activity contracted dramatically on a global of just over 2% and expectations of a return to over 8%
scale, with employment losses, substantial declines 8% in 2021. The US economy, on the other hand, 6%
in spending, and deterioration in local economic was confronted with one of the worst recessions in
4%
conditions. All of these factors had a significant effect over 50 years, with a contraction of 3.4% in GDP growth
2%
on art sales during the first six months of the year, (compared to a fall of 2.5% just over a decade
with losses of between 30% to 40% in the auction previously in the global financial crisis). Although some 0%
and gallery sectors. stability has been restored in the economy after the –2%
elections in November, the recovery is expected to be –4%
After this initial crisis, by mid-year, many economies
somewhat more subdued, with growth of 5% expected –6%
had tentatively reopened and some of the losses
in 2021 but tapering to 2% or less in subsequent years.
in global wealth were reversed as signs of economic –8%
The UK’s economy fared worse, with concerns over 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023
recovery emerged. However, the recovery hit a
Brexit compounding the challenges of the pandemic.
number of setbacks in the final quarter of the year,
Economic growth fell by 10% in the UK, while
as reopening efforts were slowed to combat second © Arts Economics (2021) with data and forecasts from the IMF
the EU also saw a drop of 8%. With Brexit finalized in
and third waves of the virus, leaving many areas
December, there are hopes for a stronger year in
of the world and industries within them heading into
2021, with growth forecasts of 5% for 2021, the same
2021 with continuing challenges and risks.
forecasted level as the remaining EU nations on China had one of the most difficult first
The crisis and its economic fallout created a highly
challenging backdrop for businesses in the art market.
aggregate. Combining all regions, the projections are
for growth of 5.5% in the world economy in 2021,
quarters, however, by the end
As seen in Chapter 1, although nearly all markets although this may moderate more in the medium of 2020, it was one of the few major economies
experienced a fall in sales, performance varied by term as economies begin to pay back the cost of
region. China had one of the most difficult first recovery. not to enter into a recession
60 This estimate was revised up from a decline of 4% in January 2021. All GDP estimates are taken from the IMF Global Economic Outlook Database, October 2020
and revisions from the IMF World Economic Outlook Update, January 2020.
Government recovery and stimulus packages around

the world have been critical in the maintenance of
programs around the world in the first half of 2021,
mean global economic output and corporate
One important factor that helped preserve
some buoyancy in personal wealth, particularly at the
The strong performance
wealth and recovery of economic growth. The pandemic earnings are forecast to return to their pre-pandemic high end, was the resilience of equity markets. of financial markets
prompted unprecedented fiscal responses worldwide, highs by the end of 2021.61 Although they suffered a severe downturn in the first
both to support healthcare systems and to provide quarter of the year, with the S&P 500 dropping by over 2020 led to wealth
However, these vital policies, combined with the
aid to companies and individuals. The International
sharp decline in output and government revenues,
34% in one month from late February to March, markets preservation and growth
Monetary Fund (IMF) estimated that by September rebounded rapidly, and by the end of December,
2020, fiscal support measures aggregated to just under
have inevitably resulted in the buildup of
government debt. To fund social support packages,
the S&P 500 was 67% above its March low and up just for many high net
$12 trillion globally, or close to 12% of global GDP
(including additional spending, temporary tax cuts,
governments ran an aggregate deficit of over 11%
over 16% for the year, as more certainty in major
economies such as the post-election US, the rollout of
worth individuals,
of global GDP in 2020, and the world’s top five central
and liquidity support). In the final quarter of 2020,
banks printed a combined total of $5 trillion.62
effective vaccines, and greater optimism pushed who are key collectors in
policy makers also delivered further measures to markets up to unexpected and record high levels.63
support growth, including the approval of a $900 billion
Governments are expected to continue to ‘bridge the
In December, the markets ended 2020 on a high the art market
gap’ until a vaccine enables a return to normal
stimulus package in the US, as well as further expansion note, with a 4.6% rise in global equities boosted by
economic functioning, with central banks keeping
of monetary support from the European Central positive market sentiment as the commencement
interest rates low to support growth. Although
Bank. The finalization of the EU-UK Brexit trade talks of vaccination programs offset some of the concerns
debts are being enabled through central banks and
also removed a key economic risk, which has over rising COVID-19 infections, stricter restrictions
low external borrowing costs, these very high
improved forecasts for the coming year. These factors, in many parts of the world, and the emergence
levels of government debt puts constraints on many
combined with the wide-scale rollout of vaccine of a new faster-spreading strain of the virus.64 The
countries’ future finances. They may need some
best performance came from emerging markets
form of financing in future that requires a combination
as well as a rally from the UK market after a notably
Government recovery and of measures, possibly including higher taxation,
somewhat higher inflation, and the potential of muting
weak year. Although this growth moderated slightly
stimulus packages growth in developed economies in the longer term.

at the beginning of 2021, the strong performance of
financial markets over 2020 led to wealth preservation
have been critical in the Although deeper and more pervasive than the global and growth for many high net worth individuals,
financial crisis less than a decade before, growth who are key collectors in the art market.
maintenance of wealth in global wealth over recent years ensured that the
world was generally in a better position to absorb
some of the losses from COVID-19 during 2020.
61 See UBS (2021) UBS House View: The Year Ahead 2021, UBS Chief Investment Office, available at ubs.com/yearahead 63 S&P 500 data from nyse.com.
62 UBS, ibid. 64 See UBS (2021) 2020 in Review: Six Key Observations, Chief Investment Office GWM Research.
Figure 6.2 | The Distribution of World Wealth in the crisis is wealth and income inequality, and Figure 6.3 | Number and Wealth of Dollar Millionaires 2010–2020
in 2020 the post-crisis world is predicted to be more unequal
in terms of wealth distribution. The pandemic had Trillion $ Wealth Number Million
Under $10k $10k–$100k $100k–$1m Over $1m varying effects between different segments of society,
with a higher burden on the most economically $180 60
1%
100%
vulnerable people, including younger workers and 49.9
51.9
11%
$150 50
women, those working in smaller companies and in 45.5
80% 43%
less secure contractual arrangements and with lower 39.8
$120 40
34% wages, who were more likely to lose their jobs than 34.8 33.7
32.9
31.7
those with higher wages and more secure conditions. 29.7
60% $90
28.6
30
Also, the fact that highly skilled and knowledge-based 24.2 $158.3
$173.3
work can be performed efficiently at home and $128.7

$142.0
40% $60 $115.9 $116.6 20

41% that financial markets have performed well, meant $98.7
$113.0
$89.1 $87.5
54%
that high wealth and income individuals had a $69.2
$30 10
20% relatively much better period. The global distribution
of wealth measured mid-year in 2020 had not
15% $0 0
1% shown significant changes in structure, however, some 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
0%
of the effects may only be seen over several years.
Adults Wealth
In 2020, millionaires accounted for just 1% of the adult
© Arts Economics (2021) with data from Credit Suisse
population worldwide but owned 43% of the
world’s wealth. The greatest adjustments year-on-year
were gains in the $100,000 to $1 million wealth tier,
56,000 from January to June, bringing the total to The most new millionaires created in 2019 were
which saw an increase in both its share of the global
6.2 | Wealth Distribution and Millionaires 51.9 million in mid-2020 (although still an increase of in the US, while in the first half of 2020, Greater China
adult population and their share of wealth of 2%.
While economic recovery has begun, a key feature of 4% in number on mid-2019).65 was the largest gainer. The main countries losing
the crisis of 2020 was that it escalated some trends The number of millionaires measured at the start millionaires over the first six months of 2020 were
The US maintained the highest millionaire population
that were already in evidence in recent years, of 2020 was 51.9 million with wealth of $173.3 trillion, the UK, Brazil, Italy, Australia, and Canada (with some
(40% of the world total), and the global distribution
noticeably the increasing focus on local markets and up 10% year-on-year from 2019. However, it is of these losses due to currency devaluations).
remained basically unchanged from 2019, with Greater
the shift to digital. Another trend that has accelerated estimated that the number of millionaires fell by
China up fractionally and in second place with 13%.
65 Estimates of millionaires are from Credit Suisse (2020) Global Wealth Report, and previous editions of Credit Suisse Wealth Databooks. Millionaires refer to those with
net wealth in excess of $1 million, defined as financial and non-financial assets (including property and other physical assets) less debt.
Figure 6.4 | Global Share of the Population Figure 6.5 | Global Share of the UHNW Population Figure 6.6 | Change in UHNW Population with Wealth Over $50m in H1 2019 to end of H1 2020
of Dollar Millionaires in 2020 with Wealth Over $50m in 2020
Change in population
Others 16% Others 15%

30%
23%
19%
Spain 2% Italy 2% 20%
Russia 2% 15%
Italy 3% 13%
US 40% Japan 2%
9% 10% 10%
Canada 3% Canada 2% 10%
France 2%
Australia 3% US 51%
UK 2%
0%
France 4% India 3%
Germany 4%
Germany 5% –10% –7%
–9%
UK 5%
–20%
Japan 6% Greater China 15%
Greater China 13%
–30%
–31%
© Arts Economics (2021) with data from Credit Suisse © Arts Economics (2021) with data from Credit Suisse
–35%
–40%
US Mainland France Germany India Italy UK Brazil Japan Spain World
China
Moving up the wealth spectrum, the global population The US accounted for 84% of the net expansion in
of ultra-high net worth (UHNW) adults reached global individuals (UHNWIs) from mid-2019 to
approximately 175,570 in 2020 (defined here as those June 2020, with Greater China accounting for another
with net worth exceeding $50 million), including 25% of the rise. However, relative to its own figures
around one third with wealth over $100 million. Despite year-on-year, Greater China saw the greatest increase, The US and Greater China
a small net loss in the first six months of 2020 (120
fewer UHNW adults), measured from mid-2019, the
with Mainland China adding 23% to its UHNW
population while the US added 19%. The biggest losers
accounted for a combined 66% share of
population in this segment increased 10%. The US over the period were again the UK and Brazil, with the world’s UHNW population
and Greater China still dominated, accounting for a others including Spain, Japan, Switzerland, and Korea.
combined 66% share of the world’s UHNW population.
Both saw an increase in share year-on-year, with the
US increasing 3% and Greater China up 2%.
Figure 6.7 | Number and Wealth of Billionaires 2008–2020 Figure 6.8 | Global Share of Billionaires in 2020
Billion $ Wealth Number Number a. By Population b. By Wealth
$12,000 2,299 2400

2,208 Others 7%
2,153 Others 10%
2,043
Other Asia 5%
$10,000 2000 Other Asia 7%
1,826 1,810 US 28%
Other Europe 8%
1,645 US 35%
$8,000 1,426
1600
Other Europe Canada 2%
1,226 10% Japan 2%
1,210
UK 2%
$6,000 1,125
$11,455
1200
1,011
France 2% Russia 4%
793 $9,060 Canada 2%
$8,669
$4,000 $7,668 800 UK 2% India 4%
$7,063 Brazil 2%
$6,446 $6,483
France 4%
$5,432 Russia 4%
$4,381 $4,496 $4,575 Greater China 23%
$2,000 $3,568 400 India 5% Germany 5%
$2,415 Germany 5% Greater China 22%
$0 0
2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020
© Arts Economics (2021) with data from Forbes © Arts Economics (2021) with data from Forbes
In 2009, the number of billionaires worldwide 6.3 | Billionaires

Moving higher again, 2020 also saw some interesting
the two recent recessions: in 2009, the number of
billionaires worldwide fell by 30% and their wealth
fell by 30% and their wealth plummeted 45% in the changes for the world’s billionaires, many of whom plummeted 45% in the fallout from the global
have an important impact on sales in the art market, financial crisis; in 2020, the number of billionaires
fallout from the global financial crisis. In 2020, highlighting the vast differences between 2020 and rose 7% and their wealth grew 32% over the year.
the number of billionaires rose 7% and their wealth other recessions for the ultra-wealthy. Using Forbes Although not all billionaires collect art, the
billionaires lists (which have aggregated data on preservation and enhancement of wealth in this
grew 32% over the year the world’s billionaires since 1987), in December 2020, segment globally is very likely to have been one
there was an estimated 2,299 billionaires with factor that stopped the art market from having a
combined wealth of $11.5 trillion. Figure 6.7 shows the worse recession than it may have done.
stark contrast in the billionaire segment between
Figure 6.9 | Change in Billionaire Wealth March to December 2020 by Region Figure 6.10 | Change in Billionaire Wealth March to December 2020 by Sector
Change in wealth Change in wealth
80% 80% 78%

73%
63% 62%
58% 58% 60%
60% 60% 55%
47% 45%
41% 39%
40% 34% 40%
32% 31% 30% 30%
28% 27% 25%
21%
20% 20% 16%
0% 0%
Japan Greater France India Other Other US South Germany Other UK Russia E-commerce/ Social media/ Online/ Healthcare/ Software, Traditional Food/ Entertainment/ Finance All sectors
online retail online video Pharma- computers, retail beverage hospitality
China Asia Europe America communication gaming ceuticals other tech
© Arts Economics (2021) with data from Forbes © Arts Economics (2021) with data from Forbes
The US continued to have the highest share of The wealth of Chinese billionaires increased over 150% each year, and comparing this published list to With a few exceptions, Asian billionaires fared better
billionaires in the world with a stable share of 28%, over 2020 (to $2.5 trillion) while the US grew 28% the information gathered in real-time in December than others over this period in 2020, but the
followed by Greater China at 23% (up 3% year-on-year). to just under $4 trillion. Although its share was stable showed the variable effects of the pandemic on aggregate wealth of billionaires in all countries was
Germany, India, and Russia were again in the top (at 4% of global billionaire wealth), France also billionaire wealth.During the period from mid-March either stable or increasing.
five with a combined share of 14% of the billionaire saw significant gains, with the aggregate wealth of its to mid-December 2020:
Looking further at the differences in these periods by
population. Although global shares did not change billionaires increasing 49%, while both Germany
– The top three wealthiest billionaires increased economic sector reveals the extraordinary gains
significantly, by far the biggest gainer was Greater China, and India saw advances of around 20%.
their wealth by 113% (and 98% for the year from made by billionaires in certain industries, with those
which saw its billionaire population rise by 63%
Apart from affecting various regions differently, the December 2019 to December 2020); with wealth centered on online industries, including
(with 200 new billionaires), followed by India at 11%,
pandemic had diverse effects on different industries, – The top 10 billionaires increased their wealth by both e-commerce and online communications,
while the US saw a more moderate increase of 7%
which in turn impacted on the distribution and levels 65% (and 50% for the year); and health and pharmaceuticals doing considerably
(43 billionaires).
of billionaire wealth. What has clearly emerged from – The top 100 billionaires increased their wealth by 61%; better than average. Research on the billionaire
The US also had the largest share of billionaire wealth the year is that some individuals holding assets in key – The top 500 billionaires increased their wealth sector by UBS also indicated that tech-based billionaires
at 35%, a decline in share of just 1% year-on-year, growth sectors such as technology and online retail by 50%; and have prospered most in the last decade, particularly
while Greater China advanced 6% in share to 22%. did extremely well through the crisis. Forbes – All billionaires (that were on both the March and pulling ahead in 2019 and 2020, supported by a surge
publishes its annual list of billionaires in mid-March December lists) increased their wealth by 39%.
in tech shares from 2018. According to their estimates, had fewer children then preceding generations, and 6.4 | Art Collectors Survey To better understand collectors’ participation and
the number of tech billionaires grew from 68 in 2009 hence could be in a position to make large individual The behavioral patterns and preferences of interaction in the art market in 2020, Arts Economics
to 234 in 2020. The number of healthcare billionaires bequests of both wealth and art. Forecasts vary HNW collectors are crucial in shaping some of the key and UBS Investor Watch distributed a survey to
also grew from 48 to 167, with their wealth boosted widely, with estimates that millennials could inherit trends in the art market. In 2020, the COVID-19 HNW collectors across 10 different markets at the
by drug discoveries and innovations in diagnostics anything between $20 trillion and $70 trillion from pandemic caused significant disruption to collectors’ end of the year. Arts Economics has worked with UBS
and medical technology, as well as directly over billionaire and UHNW parents by 2030 in wealth normal patterns of interaction with artists and Investor Watch for the past four years in surveying
2020 through COVID-19 treatments and equipment. and assets, including art in what has been termed businesses in the art market, as well as interrupting distinct, regional samples of HNW collectors. In 2016
Tech and healthcare billionaires’ total wealth both the ‘great wealth transfer’. While some of these their often frenetic schedule of events. Collectors and 2017, the research focused on the largest market
multiplied by four times over the period, accounting estimates rest on some fairly tenuous assumptions were forced to access exhibitions and sales online for of the US, but this was expanded annually in both
for a combined $1.8 trillion in 2020.66 regarding what Boomers will do with their money, much of the year, and many galleries and auction 2018 (to include the UK, Germany, Japan, Singapore,
it is certain that there will be significant transfers, experts cited the difficulties of keeping some collectors and Hong Kong) and in 2019 (adding France and
Women still make up the minority of billionaires
and the generation of millennial collectors may focused on buying art as concerns over health, Taiwan). In 2020, the survey expanded again, covering
worldwide, accounting for just 11% by both population
in turn be even wealthier than their parents, despite safety, social, political, and financial issues occupied the largest sample size and widest geographical
and wealth in 2020, stable on 2019. Although the
being significantly less so now. This trend is also their minds. However, unlike some previous area to date, including the major art markets and
number of female billionaires has more than doubled
set to increase the share of inherited wealth in recessions, there was also a notably heightened a regionally diverse selection of others. The markets
in 10 years (to over 250 in 2020), it has done so in
the HNW segment and, in turn, potentially increase awareness and strong drive by some collectors to included in the survey in 2020 were: the US, the
line with the overall number of billionaires, leaving
inequality as more wealth shifts between the support the arts, and help ensure the survival UK, France, Germany, Italy, Mainland China, Hong Kong,
their share virtually unchanged.
wealthiest in society. The generation of Boomer of businesses, artists, and museums during the crisis. Taiwan, Singapore, and Mexico. Each of these markets
As in other years, billionaires were mainly older, with collectors have been very active buyers of art Without travel and other opportunities for luxury is home to significant HNW populations, and some
just 12% of the population under 50 (and accounting with large collections. As these are transferred, it outlays, some collectors also had more time and of their key wealth and economic features are
for 13% of total billionaire wealth) and 3% under 40 remains highly likely that a lot of this art will budgets to browse and buy art. summarized here.
(with 3% of the total wealth). In markets such as the come on to the market due to changing tastes or
US, although young billionaires make up a small simply the difficulty of dividing estates. This
share of the overall population, there are expectations could potentially, therefore, have a double effect on
of significant wealth transfers in the coming years, both supply on the market and demand, should
with millennials set to inherit a significant wave of millennial collectors choose to use the proceeds
wealth from very wealthy Boomer parents, who often in part to purchase more art.
66 UBS (2020) Riding the Storm: Billionaires Insights 2020. UBS/PWC, available at www.ubs.com/global/en/wealth-management/uhnw/billionaires-report/billionaires-
insights-2020.html.
Figure 6.11 | Survey Market Summaries
I. US II. UK III. France VI. Germany

– Share of global millionaires: 40% – Share of global millionaires: 5% – Share of global millionaires: 4% – Share of global millionaires: 5%
– Share of global UHNWIs (wealth over $50m): 51% – Share of global UHNWIs (wealth over $50m): 2% – Share of global UHNWIs (wealth over $50m): 2% – Share of global UHNWIs (wealth over $50m): 4%
– Share of global billionaires: 28% – Share of global billionaires: 2% – Share of global billionaires: 2% – Share of global billionaires: 5%
% Growth GDP % Growth GDP % Growth GDP % Growth GDP
15% 15% 15% 15%

12% 12% 12% 12%
9% 9% 9% 9%
6%
6% 5% 6% 5% 6% 6% 4% 4%
3% 3% 3% 3%
3% 2% 2% 3% 2% 2% 3% 2% 2% 3% 2%
1% 1% 1% 1%
0% 0% 0%
0% 0% 0% 0%
–3% –3% –3% –3%
–3% –3% –3%
–6% –6% –4% –6% –6% –5%
–6%
–9% –9% –9% –9%
–9%
–12% –12% –10% –12% –12%
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp)
20,273
20,000 18,614 $75,000 5,000 $75,000 5,000 $75,000 5,000 $75,000
$65,254 $63,051
$60,000 4,000 $60,000 4,000 $60,000 4,000 $60,000 $56,226
15,000 $53,571
$49,829 $48,727 $49,799
$44,288 $45,454
$45,000 3,000 $45,000 3,000 $45,000 3,000 $45,000 $42,541
2,460 $37,146 $38,790
10,000 2,116 2,192 2,187 2,221
2,071
7,440 $30,000 2,000 $30,000 2,000 $30,000 2,000 $30,000
5,000 1,169
$15,000 1,000 750 $15,000 1,000 $15,000 1,000 618 $15,000
0 $0 0 $0 0 $0 0 $0
2000 2019 2020 2011 2019 2020 2000 2019 2020 2011 2019 2020 2000 2019 2020 2011 2019 2020 2000 2019 2020 2011 2019 2020
No. Billionaires Billionaire Wealth ($bn) No. Billionaires Billionaire Wealth ($bn) No. Billionaires Billionaire Wealth ($bn) No. Billionaires Billionaire Wealth ($bn)
$3,969
1,000 $4,000 75 $225 $207 75 $750 200 $750
$3,111 $182 $599

54 $600 160 $600
750 $3,000 53
650 $491 $501
607 50 $150 50 119
41 43 $450 120 114 $450
500 $2000 $330
$300 80 $300
25 $75 25
250 $1,000
$150 40 $150
0 $0 0 $0 0 $0 0 $0
2019 2020 2019 2020 2019 2020 2019 2020 2019 2020 2019 2020 2019 2020 2019 2020
© Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes
Figure 6.11 | Survey Market Summaries (continued)
V. Italy VI. Mainland China VII. Hong Kong VIII. Taiwan

– Share of global millionaires: 3% – Share of global millionaires: 11% – Share of global millionaires: 1% – Share of global millionaires: 1%
– Share of global UHNWIs (wealth over $50m): 2% – Share of global UHNWIs (wealth over $50m): 12% – Share of global UHNWIs (wealth over $50m): 2% – Share of global UHNWIs (wealth over $50m): 1%
– Share of global billionaires: 2% – Share of global billionaires: 18% – Share of global billionaires: 3% – Share of global billionaires: 2%
% Growth GDP % Growth GDP % Growth GDP % Growth GDP
15% 15% 15% 15%

12% 12% 11% 12% 12% 10%
9%
9% 9% 8% 8% 9% 9%
7% 7%
6% 6% 6% 6% 5%
4% 4%
3% 2% 3% 3% 3%
3% 2% 2% 3% 3% 2% 3% 2% 1%
1% 1%
–1% 2%
0% 0% 0% 0%
–3% –3% –3% –2% –3% –2%
–3%
–6% –5% –6% –6% –6%
–9% –9% –9% –7% –9%
–9%
–12% –12% –12% –12%
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp)
5,000 $75,000 20,000 $30,000 750 $75,000 750 $75,000

$62,267
4,000 $60,000 $60,000 $58,165 $60,000
15,000 516 518 $51,999 528 518 $53,275 $54,020
$44,161 $20,000 500 500
3,000 $45,000 $40,066 $16,709 $45,000 $45,000 $40,533
$36,249 $15,522
10,000
2,000 $30,000 $10,195 $30,000 $30,000
1,496 1,555 6,153 $10,000 250 250
5,000 4,447 164
1,000 $15,000 104 $15,000 $15,000
424
38
0 $0 0 $0 0 $0 0 $0
2000 2019 2020 2011 2019 2020 2000 2019 2020 2011 2019 2020 2000 2019 2020 2011 2019 2020 2000 2019 2020 2011 2019 2020
No. Billionaires Billionaire wealth ($bn) No. Billionaires Billionaire Wealth ($bn) No. Billionaires Billionaire Wealth ($bn) No. Billionaires Billionaire Wealth ($bn)
75 $225 1,000 $4,000 75 71 69 $750 75 $225
$177 $600
750 $3,000
50 $150 $143 50 50 $150
40 $450 $397 40 41
$2,018
35 500 $2,000 $98
416 $320
$300 $86
324
25 $75 25 25 $75
$981
250 $1,000
$150
0 $0 0 $0 0 $0 0 $0
2019 2020 2019 2020 2019 2020 2019 2020 2019 2020 2019 2020 2019 2020 2019 2020
© Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes
Figure 6.11 | Survey Market Summaries (continued)
IX. Singapore X. Mexico

– Share of global millionaires: 0.4% – Share of global millionaires: 0.4%
– Share of global UHNWIs (wealth over $50m): 0.6% – Share of global UHNWIs (wealth over $50m): 0.4%
– Share of global billionaires: 1% – Share of global billionaires: 1%
% Growth GDP % Growth GDP 6.5 | Description of the Collector Sample Figure 6.12 | Age Profile of HNW Collectors
15%
The collector survey covered 10 regional markets, Surveyed (All Markets)
15% 15%
and included responses from 2,569 collectors, the
12% 12%
9% 9%
largest survey of its kind to date. For inclusion Silent 0.4% Gen Z 4%
Boomers 12%
6% 5%
4%
5% 6% 5%
4% 4%
in the survey, respondents were screened according
3%
3% 2%
1% 3% 1%
2%
to their level of wealth, as well as their activity
0% 0%
and spending in the art market over two years. To be
–3% –3%
–6% –6% –5%
included, respondents were required to be HNW
–6%
–9% –9%
–9%
individuals, defined here as having a current net worth,
–12% –12%
excluding real estate and private business assets, in
Gen X 32%
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
2019
2020
2021
Millennials 52%
excess of $1 million. To ensure they were active in the
art market, they were required to have purchased
fine or decorative art over the previous two years. To
No. Millionaires GDP pc ($ppp) No. Millionaires GDP pc ($ppp) increase the likelihood that they would have been
750 $120,000 750 $30,000 active enough in the market to have relevant insights
$101,458
$95,603 into the effects of the pandemic, they were also © Arts Economics (2021)
$90,000
500
$80,052
500 $20,000
$20,583
$18,804 excluded from the survey if they had not spent more
$16,520
$60,000 than $10,000 on art and collectibles in each of the
250 207 250 227 $10,000 years 2019 and 2020.67 This screening process continued As in previous years, although the questionnaire
$30,000 173
78 until there was a minimum of 400 suitably qualified was distributed across a broad range of age groups,
35
0 $0 0 $0 responses for the US, 300 from Mainland China, the age breakdown of qualified respondents was
2000 2019 2011 2019 2020 2000 2019 2020 2011 2019 2020
and 200 from each of the other markets surveyed. dominated by millennials (52%) and Gen X collectors
A quota on gender was also applied to ensure a (32%), which reflects some of the most currently active
No. Billionaires Billionaire Wealth ($bn) No. Billionaires Billionaire Wealth ($bn) more balanced representation of male and female collecting segments in the market.68 The average
collectors, with the overall gender breakdown of age across all markets was 39 years, and this was also
75 $225 75 $225
the aggregate sample being 46% female, 52% male, fairly consistent throughout the different regions,
and 2% identifying as non-binary. ranging from 37 years of age in Mexico to 44 in Italy.
50 $150 $142 50 $150 $133 $133
26 $71
25 22 $75 25 $75
17 15
67 The $10,000 expenditure minimum was introduced as a screening criterion in 2019 but covered a period of two years. In 2020, the criteria were more stringent,
with respondents required to have spent $10,000 in both 2019 and 2020. This ensured respondents were regular and active collectors, that had engaged with the
0 $0 0 $0
market in 2020. However, along with the changing regional composition, the new criteria introduced some issues in direct comparability over time, as well as
2019 2020 2019 2020 2019 2020 2019 2020
changing the demographic profile of the sample.
68 For the purposes of this survey, Gen Z are defined as those collectors who are under 23 in 2020, millennials are 23 to 38 years old, Gen X are 39 to 54 years, Boomers
© Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes © Arts Economics (2021) with data from the IMF, Credit Suisse and Forbes
are 55 to 73 years, and Silent are 74 years and over. The share of millennials in the entire population sampled from (i.e. including those screened out) was only 32%
of the total, with 25% Gen X, 30% Boomers, 4% Silent generation, and 9% Gen Z.
Figure 6.13 | Wealth Level of HNW Collectors All respondents had personal wealth in excess of Figure 6.14 | Length of Time Collecting (All Markets)
Surveyed (All Markets) $1 million (excluding real estate and private business
assets), with just over one third in the $1 million to a. Share of Collectors by Generation Under 5 years 6–10 years Over 10 years
$50m–plus $5 million range. Almost half (49%) had wealth in
15%
excess of $10 million, including 15% in the ultra-high 100%
$1m–$5m net worth (UHNW) category of over $50 million. 80%

34% 45%
The highest share of UHNW adults was in Germany 53%
63%
$20m–$50m (31%) and Mainland China (21%), and millennials 60% 68%
16%
had a slightly higher share in this category (at 18%)
40%
versus other generations. 39%
34%
20% 30% 22%
Despite being a relatively young sample, most
respondents had been collecting art for several years. 13% 16%
7% 10%
$10m–$20m 0
18% $5m–$10m Over half of the sample had been collecting for longer All collectors Millennials Gen X Boomers
17%
than 10 years, including 10% over 20 years. Only
13% had been actively collecting for less than five years,
b. Share of Collectors by Collector Location
and just 1% were new to the market in the last two
years. Even for younger millennial collectors, a 100%
high proportion of 45% reported having collected art
80% 40%
for at least 10 years. While this may relate to 48% 48% 51% 47% 51%
56% 59%
family-collecting activities or collecting at a relatively 60%
67% 67%
minor level, it does imply that a significant share

of collectors show an interest in the market from an 40%
37% 53% 35% 35%
35% 32%
early age. Collectors tended to be more established 32% 27%
20% 24% 26%
in Europe and the US than in the Asian markets. Those
14% 15% 17% 14% 18% 17%
collecting longer tended to have larger collections and 0
12% 9% 7% 7%
spent more annually, particularly at the higher end. US UK France Germany Italy Mainland Hong Taiwan Singapore Mexico
China Kong

290
Figure 6.15 | Collectors’ Allocation to Art Some collectors had a relatively high proportion
in Overall Portfolio of Wealth of their overall portfolios of wealth invested in art,
with 61% reporting an allocation of over 10%
Under 5%
Over 50% 2% (with wealth measured in this instance including real
8%
estate and private business assets). A minority of
collectors (28%) also reported that over 30% of their
31%–50%
20% 5%–10%
wealth portfolio was accounted for by their art
37% collections, and younger collectors tended to have a
higher share allocated. 30% of millennial collectors
had more than 30% of their wealth held in art,
which was double the level of some of their older
counterparts such as Boomers. This may be related to
lifecycle factors and the buildup of other assets
11%–30%
33%
over time, but it shows the significant position of art
in the wealth portfolios of some young collectors.
Some collectors had a relatively high proportion

of their overall portfolios of wealth invested in art, with
61% reporting an allocation of over 10%
Figure 6.16 | Size of HNW Collectors’ Collections (Number of Works)
a. Share of Collectors by Generation 0 to 49 50 to 99 100+ b. Share of Collectors by Location
100% 50%
11%
20% 18% 43%
23%
80% 40% 37%

25% 36%
20% 35% 35%
21%
21% 31% 31%
60% 30% 28%
26% 26%
40% 20%
16%
62% 64%
59% 56%
20% 10%
0% 0%
All collectors Millennials Gen X Boomers US Germany Mexico UK Italy Taiwan France Hong Singapore Mainland All
Kong China locations
6.6 | HNW Collections of Art collections, with those with wealth above $50 million Despite having low collection sizes on average, there Collectors in Asia tended to have slightly smaller
The majority (59%) of collectors owned less than having collections three times the size of those with were a minority of new collectors that deviated collections, with a median of 16 works of art
50 works, with a median of 31. These relatively wealth between $1 million and $5 million (59 works from this significantly, including 16% who already held for collectors in Mainland China, and a majority
smaller collections dominated across all age groups, versus 19). The number of works was also related to 100 or more works in their collections (and nearly (77%) with collections under 50 works. The largest
although millennial collectors slightly surpassed how long respondents had collected art: collectors one quarter in this segment held at least 50). While collections were in the US, where the median
their older peers with a median of 33 works versus of over 20 years had amassed 86 works in their some of these works may have been inherited or size was 43 works and 31% of US respondents had
29 for both Gen X collectors and Boomers. The collections, while the median number for those new gifted, this indicates there is a small, but potentially over 100 works.
wealthiest collectors of all ages also had the largest to the market in the last two years was just seven. highly active, segment of new HNW collectors.
An analysis of the content of their collections revealed Collections were, however, less balanced when it Figure 6.17 | Collection Content: Share of Works Purchased by Artists’ Characteristics
that HNW collectors tended to hold a balanced came to gender, and across the board tended to
selection of living and deceased artists’ works in their be dominated by the work of male artists, at 61% on a. Share of Works by Living versus Deceased Artists Living artists Deceased artists
collections, with an average 50% share of each. average.69 This does not imply that collectors are
The share of works by living artists was slightly lower biased in their selection of works, and anecdotally, 100%
than previous surveys, with a majority of 53% in most collectors have reported that they tend not 80% 42% 44%
49% 50% 50%
2019 and 57% in 2018. The inclusion of a higher spending to be influenced by either the race or gender of the 53% 55% 53% 52% 56%
criteria possibly influenced the aggregate share as artists they consider for purchase. However, they 60%
higher price points are generally more often found in only see and purchase artists they have heard of and
40%
the secondary market (where deceased artists’ are made aware of, and the extent that female
58% 56%
works dominate). Despite this, there was in fact a artists’ works are less available or represented less 20%
51% 47% 45% 47% 48% 50% 50%
44%
greater share of living artists’ works in the collections in the auction and gallery sectors will clearly
of the wealthiest and highest spending collectors: influence the composition of private collections. 0
US UK France Germany Italy Mainland Hong Taiwan Singapore Mexico
UHNW collectors with wealth over $50 million owned China Kong
Although still a minority across all of the regions
a higher share of living artists (54%) and those who
surveyed, there are indications that the share of
had spent $1 million or more over the last two years b. Share of Works by Female versus Male Artists Male artists Female artists
female artists’ works in collections is rising over time,
were higher again at 57%.
increasing to 39% in 2020 from 37% in the surveys 100%
The highest share of works by living artists were of collectors in 2019, and 33% in 2018. The share
34% 32%
80% 40% 38% 40% 39% 39% 40% 40%
held by collectors in Asian markets such as Singapore of works by female artists was also slightly greater 43%
and Hong Kong, with the lowest in Mexico and for female collectors than male collectors overall 60%
France. Newer collectors tended to have a greater (42% versus 36%). There were some regional
share of living artists’ works, with those new to differences, although none reported gender parity. 40%
66% 68%
62%
the market in the last two years having a share of The share of works by female artists in the collections 57% 60% 60% 61% 61% 60% 60%
20%
56% versus 48% for collectors of 20 years or more. of female HNW collectors ranged from a low of
However, otherwise, there were few significant 29% works in the US to 40% in the UK, while for male 0
differences by characteristics such as gender or age, collectors this ranged from 29% to 36%. US UK France Germany Italy Mainland Hong Taiwan Singapore Mexico
China Kong
indicating overall, collectors tend to hold a diversified
selection of artists’ works in their collections.
69 The share of works of male versus female artists cited here compares only those works where male or female could be assigned to the artist.
Figure 6.18 | Share of HNW Collectors Having Purchased Art and Luxury Assets in 2019 and 2020
a. Share of Collectors b. Share of Collectors by Generation Fine art Decorative art Antiques Design works
100% 100%
86% 86% 84% 87%
83% 84%
81% 79% 78%
80% 80% 74%
70%
67% 69% 71% 71%
64%
60% 55% 60% 56%
46%
41%
40% 40%
20% 20%
0% 0%
Fine art Jewelry, Decorative Antiques Design Other Sports Classic cars, Millennials Gen X Boomers
gems, watches art works collectibles investments boats, jets
6.7 | HNW Collectors’ Expenditure on Art in 2020 art in second place). Figure 6.18 shows evidence of Although the COVID-19 pandemic distracted many bought the same number of works each year
From eight different categories of art and collectibles, cross-collecting by HNW collectors, with the majority collectors from focusing on their collections in (with averages of 10 for millennials in both years and
fine art was the most popular purchase of 2019 having purchased across several different categories, 2020, the survey indicated that most HNW collectors a stable seven for Boomers), while the volume of
and 2020 for HNW collectors, with 86% of the sample including antiques and design works (such as 20th continued to actively engage in the art market. purchasing by Gen X collectors declined slightly from
having bought a painting, print, sculpture, or other and 21st century furniture) as well as other collectibles Overall, the average number of purchases by collectors 10 works in 2019 to eight in 2020.
fine art work. Jewelry, gems, and watches were the such as coins, wine, or memorabilia. Collectors of fell only marginally from 10 in 2019 to nine in 2020,
HNW collectors were undoubtedly important in
second most popular, followed by decorative art. all ages showed high levels of activity across the main with a stable median year-on-year of five works
ensuring the market had a relatively smaller
Fine art was also the most popular across all of the categories of art and antiques, with millennials purchased.70 The volume of purchases was relatively
contraction than may otherwise have been the case,
national markets, with the exception of Mainland particularly strong in collecting decorative art and stable in all regions, with either the same number
as average expenditures in this sample were also
China, where decorative art ranked higher (with fine design works. of transactions or a small reduction of between one
relatively consistent year-on-year, with a slight
and four works in 2020. Millennials and Boomers
70 Around 20 outlier responses were deleted in calculating the averages in each year reporting purchasing well in excess of 500 works. However, even with these
responses included, the average was stable at 32 works in each year.
Figure 6.19 | HNW Collector Expenditure in 2019 versus 2020
a. Volume of Transactions/No. of Works Purchased 2019 2020 b. Median Value of Expenditure/Thousand $ 2019 2020
$343
18 17 $350 $336
15 $300 $273
13 $254
$250
12 11 11 11 11 11 11
10 10 10
9 $200
$167 $166
9 8 8 $153 $145$144
7 7 7 $150 $136 $135 $137 $135 $130 $137
$126
$137 $137
6 6 $114 $118
6 5
$100
3 $50
0 $0
US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico
China China
increase in median expenditure of 5% from $144,000

in 2019 to $151,000 in 2020. This median was
higher than their Gen X peers ($122,000) and more
than double that of Boomers ($109,000).71 Some
The highest spenders in 2020 were millennial
increased as there were slightly more (3%) collectors millennials also spent more in 2020, with the share collectors, with a median of $228,000,
spending over $10 million in 2020 (and less spending of those spending in excess of $1 million rising from
under $100,000) than in 2019. This was regionally 25% to 30% year-on-year, increasing the median markedly higher than their Gen X peers and more
mixed, however, with an increase in expenditure by expenditure by 37%. Based on their median expenditure than double that of Boomers
collectors in the US and the UK, and declines in some in 2020, millennials were also the highest spenders
smaller markets such as Taiwan and Mexico. in each individual location, with the notable
exceptions of Mainland China and Hong Kong, where
The highest spenders in 2020 were millennial
Boomers were higher by a considerable margin.
collectors, with a median of $228,000, markedly
71 The median expenditure represents the middle of the range of expenditures from lowest to highest, and the average was considerably higher as it was influenced
by high spenders, at $1.9 million in 2020. Again, this was the highest for millennial collectors at $2.4 million.
Figure 6.20 | Share of Collectors by Expenditure Level in 2020 Due to the screening criteria for inclusion in the was a factor, wealth and length of time collecting
survey, all respondents had spent over $10,000 on were also highly influential. Although there were a
a. Share of Collectors by Generation Over $100k Over $1m works of art and antiques in each of the last two few new collectors spending large amounts, the
years, and the survey revealed that a majority had share of $1 million-plus spenders was by far the highest
80% 72%
spent over $100,000 in both years (67% in 2020). for the segment of collectors who had been in the
67% 61% 60%
60%
Millennial collectors had the highest share of market more than 20 years, at 45%. This segment of
40% 30%
25%
18% 17%
spending at this $100,000-plus level (72% of millennials established collectors also had the highest median
20%
versus around 60% of Boomer and Gen X collectors). expenditure of $455,000, more than double the level
0%
All collectors Millennials Gen X Boomers of any newer collectors. Unsurprisingly, the wealthiest
Despite the pandemic, one quarter of the sample
collectors also spent the most, with the median
reported spending over $1 million in 2020 (up 4%
b. Share of Collectors by Length of Time Collecting level of spending for UHNW collectors at $3 million
year-on-year), with the highest levels in the UK
(versus $71,000 for those in the segment of wealth
80% 71%
76% (38%) and Germany (32%), versus 24% in the US, 20%
62% 62% up to $5 million). Millennials made up 60% of this
60%
58% in France, and the lowest share in Singapore, at
45% highest wealth segment, which indicates that UHNW
40% 28%
17%. Once again, millennials were the higher spenders,
27%
18% millennials were likely to be key spenders at the
20% 15% with 30% having spent over $1 million, versus only
high end of the market.
0% 17% of Boomers and 18% Gen X collectors. While age
Under 2 years 2–5 years 6–10 years 11–20 years 20+ years
c. Share of Collectors by Level of Wealth

Despite the pandemic, one quarter
100% 91%
75% 63%
77%
60%
of HNW collectors reported spending over
48%
50%
25% 9% 14%
31% $1 million on art in 2020
0%
$1m–$5m $5m–$10m $10m–$50m Over $50m

Figure 6.21 | Median Expenditure in 2020 by Male versus Female HNW Collectors Price ranges were proportional to wealth, with a Figure 6.22 | Most Common Price Range
much greater share of those spending at price points for Purchasing Art in 2020 (Share of Collectors)
Thousand $ Male Female over $1 million in higher wealth segments (including
Under $10k
42% of the UHNW collectors with wealth greater Over $1m 8%
15%
$500 than $50 million). There were also regional differences,
$429
with a higher-than-average share of $1 million-plus $10k–$50k
$400 $361 17%
$347 spenders in the UK and Germany versus a lower
$300 $281 proportion in the smaller art markets of Singapore
$250k–$1m
$234
and Mexico, where spending in the segment from 17%
$200 $173
$146
$163 $150 $158 $146 $159 $153 $50,000 to $250,000 was considerably stronger.
$128 $120 $123 $130
$116
$102
$100 $74 Again, young collectors tended to be the most
$50k–$100k
active at high price levels. Of those respondents most 21%
$0
US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico commonly spending over $1 million, 63% were $100k–$250k
22%
China millennial collectors (also the majority in surveys
in 2019), ahead of Gen X collectors at 23% and
Boomers at 7%. The high share was driven both by
their higher level of spending as a segment,
and their dominance as a segment of respondents,
It is notable also that while male collectors had HNW collectors purchased works across a range Overall, across all generations, there was little
however, the results were consistent across most
a slightly higher median spend that women in 2019 of prices in 2020. 25% most frequently purchased indication that the pandemic had changed the price
markets.
($147,000 versus $136,000), female collectors works below $50,0000, while just over half level collectors generally transacted at, and there
spent more in 2020. While the level of expenditure (54%) transacted at prices greater than $100,000. Across all regions, 18% of the HNW millennial collectors was evidence of a slightly higher share of collectors
remained stable for men in 2020, female HNW A minority of 15% transacted most frequently at surveyed regularly transacted at over $1 million active at higher levels of prices, which could be
collectors’ spending rose 13%, leading their male prices in excess of $1 million (with 2% over $10 in 2020, and in some markets such as Germany and connected to the boosts in the wealth of the UHNW
counterparts at $154,000. Expenditure by female million), although this was a slightly higher share the UK, this rose to one third or more. The notable population and billionaires over the year (and is
collectors was higher in some of the largest markets, than in 2019 (at 10%), showing that, at least for exception was Mainland China and Hong Kong, where not therefore more generalizable to all collectors).
including the US, the UK, France, and Mainland this small group of collectors, the COVID-19 crisis the share of Boomers spending over $1 million was
China. However, in Italy, Germany, Mexico, and Hong did not deter them from making major purchases greater than millennials.
Kong, male spending remained higher in 2020. throughout the year.
304
Figure 6.23 | Share of Collectors Most Commonly Purchasing at $1 Million and Above in 2020
Share of collectors Millennials Gen X Boomers Total
40% 38%
32%
30% 29% 29%
25%
22% 22%
21%
20% 18% 19% 18%
16% 16%
15% 13% 15%
13% 14% 13% 13% 14% 14%
12% 11% 11% 12%
10% 9% 10% 11% 10%
10% 9% 9% 8% 9%
6% 6% 6%
3% 3% 4% 4%
0%
All US UK France Germany Italy Mainland Hong Kong Taiwan Mexico Singapore
collectors China
Across all regions, 18% of the millennial

HNW collectors surveyed regularly transacted
at over $1 million in 2020
6.8 | Buying Channels for HNW Collectors in 2020 (with wealth over $50 million) and those who had Figure 6.24 | Sales Channels used for Purchasing in 2020
Despite the restrictions in place, the widespread been collecting for longer than 20 years. Purchasing
temporary closures of galleries and live auctions, and through a dealer’s website or OVR was also a less Share of collectors
the cancellation of artworld events, collectors still popular method of transacting for Boomers versus
purchased through a range of channels, both on- and their younger counterparts. Dealers – gallery 55%
offline in 2020. The most commonly used channel Auctions 54%

Purchasing from art fairs was also a commonly used
for purchasing art in 2020 was through a gallery, Dealers – website or OVR 47%
channel in 2020. Despite a reduction in the number
which has consistently been the most widely used in
of art fairs held in 2020, 41% of the sample overall Art fair OVRs 45%
the previous HNW collector surveys for the last
reported having purchased art at a fair, and 45% Art fairs 41%
three years. 81% of those surveyed had purchased via
from fair OVRs. Online platforms and Instagram were
a gallery or dealer in some format in 2020, and the Online third-party platform 39%
less popular, with more collectors engaging directly
most common method of accessing gallery sales was Instagram 34%
with galleries and auctions online through their own
through their physical premises (55%) or buying
websites or OVRs.72 Dealers – email/phone 31%
directly through a gallery website or online viewing
room (47%), while a smaller share of 31% had made Just 30% of collectors had bought directly from an Artist studios 30%
purchases by phone or through emailing the gallery. artist in 2020, although this was more popular in Privately 27%
Mainland China (41%), where it is more common for Through an advisor 9%

While buying through a gallery’s premises was the most
more artists to sell works outside of the gallery
common channel, when sales are broken out into
structure. It was also more prevalent for the most
their various component parts (as in Figure 6.24), the 0% 10% 20% 30% 40% 50% 60%
established collectors (38% for those collecting
second most widely used channel, and ahead of
for more than 20 years), who may have built up more
buying through a gallery online, was via auction, with
contacts with artists over their years interacting © Arts Economics (2020)
just over half (54%) of the sample having purchased
within the art market. Their experience and networks
art at auction in 2020. Auction channels were also
may also have influenced their higher share of
more commonly used in certain regions than galleries,
including ranking highest in France (used to make a
purchasing from private parties and other collectors
(at 38% versus the overall average for the sample
The most commonly used channel for purchasing
purchase by 66% of collectors in 2020), Germany
(64%), and Hong Kong (at 54%, just marginally ahead
of 27%). Although a minority of collectors used these art in 2020 was through a gallery, which has consistently
two channels, it does indicate that a significant level
of gallery premises at 53%). Auctions were also more
of transacting goes on outside the galleries, auctions, been the most widely used for the last three years
popular for Boomers, ranking ahead of purchasing
fairs, and online sellers covered in this report.
via a gallery, and similarly, for both UHNW collectors
72 See Chapter 5 for further findings on HNW collectors’ online engagement.

Figure 6.25 | Top Three Sales Channels used for Purchasing in 2020 by Generation Figure 6.26 | HNW Collectors’ Preferences for Purchasing Art
Share of collectors Dealers – gallery Auctions Dealers – website or OVR Share of collectors
60% 58% 40% 39%

56% 55%
54% 53%
50% 48% 47%
43% 30% 28%
40% 39%
30% 20%
14%
20%
10%
10% 5% 5% 4% 4%
1%
0% 0%
Millennials Gen X Boomers Dealers/ Auctions Art fairs Artist Online Instagram Privately Through
galleries studios 3P platform an advisor
Buying through an advisor was the least common collectors surveyed over the last two years. Although As in previous surveys of HNW collectors, apart from The second most popular channel was auctions, with
channel used by only 9% of collectors in 2020. UHNW differences may be due to the sample selection, being the most widely used, dealers and galleries 28% of the sample overall choosing auctions as their
collectors used advisors more than other collectors it may also be that collectors were able to transact were also the most preferred channel for purchasing preferred sales method. Auctions were also the most
(15%), as did more established collectors that had more directly online with galleries, dealers, and art. 39% of respondents preferred to buy from a preferred method of transacting, ahead of galleries
been building their collections for more than 20 years auction experts, most of whom also increased the dealer, and a further 14% reported to prefer buying and dealers, in Germany and Mexico, as well as for
(17%). The use of advisors also rose positively in amount of content they published online. Collectors from dealers at art fairs. Of those respondents who UHNW collectors with wealth in excess of $50 million
correlation with the level of spending by collectors, also commonly use advisors for many aspects of preferred dealers, the majority (57%) opted for buying and those who had spent at a very high level of over
from just 5% of those collectors who had spent less transacting, from the search for new works, legal and from their gallery or premises, with 29% preferring $10 million in the last two years.
than $50,000 on art in the last two years up to regulatory advice, and appraisal and valuation, but purchasing from them online and 14% by phone
25% for those who had spent over $10 million. While still conduct the actual purchase themselves, which or email. Buying at the gallery was the first preference
not the most commonly used for making a purchase, means these figures may significantly understate the regardless of the age of the collector, and in every
art advisors were reported as having been used use of advisors by HNW collectors. region individually.
regularly by between 30% and 50% of the HNW
Figure 6.27 | Number of Galleries HNW Collectors Purchased from in 2020 Further investigation into the interaction of collectors much written about the trend to buy more locally
within the gallery sector revealed that they had over 2020, this was not very evident in the sample
No. of galleries Local Overseas purchased from an average of 13 galleries in 2020, overall. The share of local galleries collectors dealt
down from 15 in 2019. A small share (12%) of collectors with decreased slightly from 53% in 2019 to 46%
30 that purchased from galleries in 2019 did not do so in 2020. The biggest increases in purchasing at local
in 2020. Of those that did, the majority (68%) had dealt galleries was in Mainland China, France, and Hong
25
with between one and 10 galleries, while 11% had Kong, whereas there was a shift to greater
14
dealt with over 20. Collectors in Germany dealt with international outreach to galleries by US collectors
20
the most galleries of the sample in 2020, averaging and those in Singapore.
8
28. While most markets dealt with a relatively stable
15 Although there was no significant differences by
number of galleries from year to year or reduced
9 generation, the share of international galleries rose
8 by one or two, there was a notable increase for French
10 6 5
positively with collectors’ level of wealth and
6 collectors (from 13 to 20 galleries), with the bulk of
14 12 4 4
their level of spending over the last two years. It was
the increase in their interactions with local galleries.
5 2 notable that longer established collectors tended
8 8 7 7
6 5 5 4 Collectors dealt with a relatively balanced share of to have built up more local ties, dealing more with
0 local versus overseas galleries. A majority of collectors local galleries (52%) versus new collectors in the
Germany France US Italy Mexico UK Taiwan Singapore Hong Kong Mainland in France and Mainland China favored local galleries, market only in the last two years (38%), who may also
China
while the lowest local share was in the US, although be reaching out more online to galleries or through
© Arts Economics (2021) this was still almost half (47%). While there has been online 3P platforms.
HNW collectors had purchased HNW collectors dealt with a

from an average of 13 galleries in 2020, relatively balanced share of local
down from 15 in 2019 versus overseas galleries
Figure 6.28 | Share of Local Galleries Versus Foreign Galleries that HNW Collectors Purchased From
a. Share of Local Galleries Purchased from in 2019 and 2020 2019 2020 b. Share of Collectors by Gallery Preference in 2021 Local Indifferent Foreign
Local (without indifferent)
69%
70% 67% 100%
60%
60% 57% 58% 58% 82%
55% 56% 56% 79%
53% 54% 54% 54% 80%
52% 72%
50% 50% 50% 50%
50% 47%
45% 64% 64%
67% 66% 65% 62%
59%
40% 60%
51%
48% 47% 46% 46%
43% 43% 42% 44% 43%
30% 40% 36%
39%40% 40%
35% 35%
31%
28% 29%
20% 25% 27% 27% 26%
23%
21% 21% 22% 21%
20%
10% 12%
9%
0% 0%
US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico
China China
Although not strongly evident in 2020, the pandemic

could yet encourage a focus on more local buying in
opted for overseas galleries. Considering only those
that had a distinct preference either way (that is,
Although not strongly evident in 2020, the pandemic
future, particularly to the extent that restrictions removing those that were indifferent), this implies a could encourage a focus on more local
remain in place, and collectors remain, in some cases, majority of 68% would prefer to buy from a local
more cautious about overseas travel. When asked gallery, a majority that held for all locations with some buying in future, particularly to the extent that collectors
about where they would prefer to purchase art in 2021, of the strongest local preferences in the markets in remain more cautious about overseas travel
43% of collectors opted for local galleries within Greater China (where overall, 78% of collectors
the location where they resided, 21% were indifferent that had a preference would choose local galleries).
or did not have a preference either way, and 36%
Figure 6.29 | Collectors’ Focus Regarding Galleries during 2020
a. Share of Collectors by Market Established New and established Only new b. Share of Collectors by Generation Established New and established Only new
60% 60%
52%
50% 49% 48%
50% 48% 48% 47% 46%
50% 46%
44% 44%
41%
40% 39% 38% 37% 40% 38%
34% 33%
32% 32% 32%
31% 30% 30%
30% 28% 29% 30%
27% 26%
25% 25%
23% 22%
21% 21% 21% 20%
20% 20% 18%
15%
10%
10% 10%
0% 0%
US UK France Germany Italy Mainland Hong Kong Taiwan Singapore Mexico Millennials Gen X Boomers
China
In terms of their interactions with galleries in 2020,

the survey confirmed anecdotal evidence gathered
reduce risk in uncertain times, others were also
actively supporting their regular galleries through the
Of those collectors working with galleries (98% of the
sample), only 20% were actively looking for new
Of those collectors
throughout the year that many collectors were difficult year, with a very high level of awareness galleries in 2020, and this was a minority in all markets, working with galleries, only
principally purchasing from galleries they already knew. and concern regarding the precarious position that with the highest share in France (29%) and lowest
46% of collectors across all markets reported that some businesses were in. The closures of galleries in Mainland China (10%). It is notable also that there 20% were actively
they focused only on galleries they had bought from was rated a top concern for collectors, with a majority was a higher share of Boomer collectors looking looking for new galleries
before and had established relationships with in (59%) very or extremely concerned about this in for new galleries to work with than other generations,
2020, although one third said they were doing this 2020, particularly in the US (72%) as well as Germany while millennial collectors were more likely to be in 2020
alongside being open to working with new galleries. and Mexico (76% each). sticking with the galleries they knew.
While some collectors may have been doing so to
316
Figure 6.30 | Collectors’ Focus Regarding Artists during 2020
Share of collectors Familiar New and familiar Only new
60% 56%
54%
52%
50%
44%
41%
40%
34%
30%
20%
10%
10% 5% 5%
0%
Millennials Gen X Boomers
A significant share of collectors (41%) were also only There were also few significant differences in collecting
buying the work of artists familiar to them or whose interests between generations, with Gen X collectors
work they had bought before. Just over half of the the most likely to be sticking to the artists they knew.
sample (54%) were focusing on artists they knew but Boomers were more likely to be looking for new
also remaining open to discovering new ones, and artists to collect, with 10% of this cohort overall seeking
just 5% were actively looking to discover new artists new discoveries, twice the share of millennial and
in 2020, with relatively little regional variation Gen X collectors.
(highest in Taiwan at 9% and lowest in the neighboring
market of Mainland China at just 2%).
Figure 6.31 | Motivations for Purchasing Art
a. Share of Collectors Rating Motivations Very or Extremely Important (All Collectors) b. Share of Collectors Rating Financial Motivations Very or Extremely Important by Location
Aesthetic/decorative considerations 70% Expected return on investment Portfolio diversification Hedge against inflation
Passion/expression of personality 70%
100%
Pleasure and social reasons 68%
Portfolio diversification 67% 81% 82% 83%

80%
80% 76%
Expected ROI 67% 72% 72% 71% 72% 73%
68% 69% 67%
64%
61% 63% 65% 62% 65%
Social contacts/networking 66%
60%
60% 60% 59% 57% 58% 58%60%
53% 53% 53% 53%
Family traditions/legacy 66%
Support of artists/philanthropy 65% 40%

Status/cultural credibility 65%
Alignment with SDGs 64% 20%

Hedge against inflation 64%
Reflection of political and social views 61% 0%

Mexico Germany France US Taiwan Mainland UK Italy Singapore Hong Kong
0% 10% 20% 30% 40% 50% 60% 70% 80% China
6.9 | Collector Motivations criteria (43%), such as their available budget, the a notable variation was that younger collectors were previous surveys for the last four years, the most
Individual collectors have a range of motivations perceived value, or the return on investment more likely to follow an organized plan versus older highly ranked factors were aesthetic and decorative
for collecting art, with most having multiple drivers of particular works.73 It was notable that financial generations. Only 9% of millennial collectors did not considerations, with 92% of all collectors considering
that lead them to purchase particular works and criteria were less important for the UHNW have an organized, strategic plan when it came to them important, including 70% who felt they were
interact in certain ways with the market. The survey collectors: 91% had a plan for purchasing, however, buying works versus 17% of Gen X collectors, 29% of very or extremely important. 91% of respondents
revealed that most collectors (86% overall) do the majority (58%) based that on the availability Boomers, and 78% of Silent generation collectors. claimed they were driven by art collecting as a passion
have an organized, strategic plan when it comes to of certain artists rather than financial criteria or expression of their personalities, again with 70%
Collectors were asked to rank the importance of a
purchasing individual works, and these were evenly (at 33% versus around half of those in the lowest rating this very or extremely important. These two
number of factors in their decision to purchase works
split between those who based purchasing on HNW wealth segment of $1 million to $5 million). considerations were ranked the two highest in most
of art or objects for their collections. As in the
the availability of certain artists (43%) or on financial While there was some subtle regional differences, markets and also regardless of age or gender.
73 Of the remaining 14% of collectors that did not buy according to a set plan, 10% bought whenever there was good value or prices around for works they liked,
while only 4% disregarded price and bought whenever they liked.
Figure 6.32 | Share of HNW Collectors Having Resold Works from Their Collections in 2020 with age, with three-quarters or more of millennial Figure 6.33 | Average Length of Resale Period
collectors regarding them as important versus
Share of collectors around half of Boomers, and a minority of the Silent Share of collectors
generation collectors.
80% 74%
50%
73%
69% 67% 65%
Previous surveys of HNW collectors showed that
63% 61% 63% 42%
60%
60% financial motivations such as return on investment
54% 40%
47% can rate lower than others due to a reluctance by
40%
collectors to sell works from their collections in order
to realize a financial return. Previous surveys of US 30% 28%
collectors in 2017 showed that 86% of those surveyed

20% 21%
had never sold a work from their collection, while 20%
in the 2018 surveys, the average share was 50%. While
0%
Germany Taiwan UK US Singapore France Hong Italy Mainland Mexico All previous surveys also covered the HNW population,
10%
Kong China markets they included a significantly wider range of collectors, 5%
4%
some at a very low level (as there was no expenditure
requirements). Surveys of a wider geographical group 0%
Under 1–3 3–5 5–10 10 years +
of collectors in 2019, who had spent a minimum 1 year years years years
of $10,000 on art over two years, saw this share rise
The exceptions were France, Mainland China, and lowest importance ratings attached to financial
again to 61% of the sample, and 71% for millennials. © Arts Economics (2021)
Taiwan, where portfolio diversification or return on motivations of all markets, which could signal the
In the current sample in 2020 (with a higher spending
investment ranked next to aesthetic considerations continued shift in the focus of collectors to more
criteria and yet wider geographical diversity), there
(ahead of passion). aesthetic, social, and cultural factors, while Germany
was a slight increase to 63%, although there was While only very few collectors resold works within
was once again one of the most financially motivated
Financial motivations for collecting were also considerable regional variation from less than half of a year, around one third reported that the average
locations in the sample.
important for the majority of collectors and were the collectors in Mexico to as high as 74% in Germany. period was up to three years, and 74% within
generally rated higher in this sample than in previous Using art as a method to diversify their portfolio of Once again, younger collectors were more likely to five years. This was a consistent majority in all
surveys. This may be due to the sample selection wealth ranked the highest of the financial motivations have resold works, with a share of 67% for millennial of the regions surveyed and also between different
(including a more active purchasing and expenditure in the majority of markets, while expected return on collectors versus 55% of Boomers. There was also generations of collectors, revealing that of those
criteria) or that these factors have simply come more investment was the key financial driver in France, a positive relationship between collection size (and collectors who resell works, most do so within a
into focus in 2020. As in 2019, Hong Kong had the Taiwan, and Italy. Financial motivations also declined how long individuals had been collecting) and their relatively short period of time.
likelihood of reselling.
Figure 6.34 | Collectors’ Motivations for Resales the collectors making resales were driven by financial 6.10 | Collectors’ Outlook spending options in some cases in 2020, such as
motives: 33% were driven to sell to realize some Although 2020 presented many challenges travel and other experiential purchases.
Lack of exhibition space Financial motivations kind of investment or financial returns, such as taking interacting in the market and the pandemic was a
18% 17% It is notable also that one segment that deviated
advantage of favorable prices for artists whose work major cause of concern and distraction, the crisis
from the rest was the newest collectors who
they owned, while 17% had other financial motives also served to increase some collectors’ interest in
had been in the market for less than 2 years. Here,
(such as needing cash or credit for reasons unrelated collecting. 66% of the collectors surveyed felt the
just under half (49%) felt the pandemic had
to collecting). For the remaining collectors, the COVID-19 pandemic had increased their interest in
increased their interest, but 24% felt it had made
reasons were either related to the content of their collecting, including nearly one third (32%) who
them less interested at this time. This may signal
collections (such as deaccessioning works that no reported it had significantly done so. 26% said it had
the importance of physical events, exhibitions,
Content/ Investment/ longer fit with their collecting goals), or due to a lack no effect, while only 8% were less interested. The
collecting financial returns and live interactions in stimulating the interest of
motivations 33% of exhibition space. increased interest in collecting was consistent across
32% new collectors such as these, which they missed
nearly all generations, with the highest share in
As millennials begin to dominate further in future, during the year.
the millennial segment (68% being more interested,
given their higher propensity to sell from their
including 38% significantly so). The only exception
collections, the liquidity of the market may increase.
As this segment continues to dominate at the high
was collectors from the Silent generation, where this
share fell to 22%, with most collectors in this
66% of the HNW
This high level of resales for the majority of collectors,
end and represents the most active segment of the
market, what these collectors do with art and wealth
small segment reporting that the pandemic had no collectors surveyed felt the
effect on their collecting either way. The boost in
alongside a relatively short resale period indicates they inherit from the Boomer generation, as well as
interest was also correlated with wealth levels, and COVID-19 pandemic
that, despite identifying themselves as collecting for how and what they choose to buy in their own right,
aesthetic, social, and emotional reasons, many are in will undoubtedly continue to shape the progress
increased strongly and positively with how much had increased their interest
collectors had spent during 2020. These findings are
fact in and out of their investments in art on a very
fluid basis, with some collectors appearing to behave
of the market in 2021 and beyond.
positive indicators for the art market, with a boost in collecting
in interest in collecting particularly strong for younger,
more like traders, using the art market to invest and
wealthier, high-spending collectors. While some of
divest often over relatively short periods.
this increased interest in collecting centered on trying
However, motivations for reselling vary and can to support the arts, much was also driven by the
relate to exogenous events and changes in personal increase in online purchasing, with many collectors
circumstances as much as opportunistic financial spending more time at home, accessing galleries and
or speculative motives. In this sample, around half of auctions online, and having fewer alternative luxury
Table 6.1 | Outlook of HNW Art Collectors over the Short-, Medium-, and Long-term
a. Outlook for the Global Art Market b. Outlook for the Global Stock Market
Mainland Hong Singa- Mainland Hong Singa-
Next 6 months Total US UK France Germany Italy China Kong Taiwan pore Mexico Next 6 months Total US UK France Germany Italy China Kong Taiwan pore Mexico
Optimistic 60% 73% 64% 54% 70% 61% 47% 50% 57% 53% 66% Optimistic 60% 72% 60% 54% 67% 56% 56% 51% 54% 54% 64%
Neither/not sure 22% 14% 19% 27% 9% 30% 27% 23% 26% 24% 21% Neither/not sure 22% 15% 21% 26% 13% 34% 26% 22% 27% 21% 23%
Pessimistic 18% 13% 17% 19% 21% 9% 26% 27% 17% 23% 13% Pessimistic 18% 13% 19% 20% 20% 10% 18% 27% 19% 25% 13%
Next 12 months Next 12 months

In 10 years In 10 years
Despite ongoing uncertainties regarding the need to be made. There was an uptick in confidence Over the longer-term, 10-year horizon, confidence in millennial collectors optimistic concerning its
pandemic and its effects, the majority of the HNW over the medium term, with greater optimism in the art market advanced in all regions, again mirroring performance in the next six months versus 49%
collectors surveyed were optimistic about the global all regions over a longer 12-month period. The outlook more general increases in optimism for the future of Gen X collectors and 56% of Boomers. These
art market’s performance over the next six months, collectors had for the art market was also roughly (with the global equities outlook following a similar views converge more over the longer term as general
with some of the highest optimism in the largest on par with their views on the global stock market over trajectory). Collectors from Mainland China shifted optimism rose in older demographic segments,
market of the US. Optimism was lower in the Asian these periods, which also showed higher levels of from the least to close to most optimistic about the however, younger collectors have a larger share of
markets (and France), however, due to a larger share optimism as the time horizon extends. art market’s progress over the decade. optimism in all periods. UHNW collectors are
of collectors feeling unsure of the next six months, also more optimistic over the short and medium
Given their high levels of spending and activity in
indicating the continuing lack of clarity over how the terms, although this is true for both their outlook
the art market, a positive finding from the survey is
course of the pandemic might progress and the on the art market and the global stock market in
that young and wealthier collectors appear to be
travel, lifestyle, and other adjustments that may still these periods.
optimistic about the global art market, with 67% of
326
Figure 6.35 | Collectors’ Intentions for Purchases and Sales of Art in 2021
Millennials Gen X Boomers
59%
60% 56%
52%
50%
40% 38%
36%
30% 27%
25%
23% 23% 24%
20%
20% 18%
10%
0%
Planning to buy Planning to sell No plans Hold off on selling
Looking ahead over the next 12 months, the majority future. These plans were unrelated to the wealth
of collectors (57%) were planning to purchase of collectors, and fairly consistent by region, but
more works for their collections, and just over one millennial collectors had a higher level of planned
third (35%) were planning to sell works. However, activity in 2021 than their older counterparts
just less than one quarter of respondents reported in all markets. The level of optimism of different
that they would be holding off on selling due to segments of collectors can be crucial to their
financial implications, which were most commonly plans for collecting, and the extent to which this
connected to the belief that prices for their artists’ can translate into sales could be critical for the
works were low and would hopefully improve in market’s recovery in 2021.
Economic
Impact and
Conclusions
330 7 | Economic Impact
1 | The Global Artand Conclusions
Market in 2019 331
Key Findings
Economic 1. It is estimated that there were approximately 305,250 4. The global art trade spent an estimated $16.6 billion
businesses operating in the global art and antiques market on a range of ancillary and external support services
Impact and
in 2020, directly employing about 2.9 million people. directly linked to their businesses, a decline of 16%
Conclusions year-on-year.
2. More than 2.6 million people were employed
worldwide in the gallery and dealer sector in 2020, down 5. As they continued their digital transformations,
5% year-on-year in about 291,000 businesses. dealers and auction houses diverted more resources to
IT, with spending up by close to 80% year-on-year,
3. There were an estimated 14,250 businesses operating making it the highest element of ancillary spending at
in the auction market, including both online and offline $3.5 billion.
companies. Employment in the sector fell by around
2% year-on-year, with significant declines in some of the 6. As many events were cancelled during the year,
top-tier auction houses. spending on art fairs went from being the largest area of
ancillary expenditure in previous years (at 24% in 2019),
to just 10% of the total in 2020.
332 7 | Economic Impact and Conclusions 333
7.1 | Employment in the Art Market in 2020 employ about 2.9 million people, with aggregate 7.2 | Dealer Sector Employment employment structures, some businesses were forced
While sales in the art market are likely to improve employment losses estimated of 4% year-on-year, It is estimated that there were more than 2.6 million to furlough or permanently lay off staff in response
over the coming year, the biggest concern stemming including full-time, part-time, and contracted people employed worldwide in the gallery and to the crisis. Payroll was the largest element of costs
from the crisis in 2020 has been its longer-term workers. Calculations regarding employment and dealer sector in 2020, down 5% year-on-year in about for dealers in 2020, accounting for a reported 27%
effects on employment and business survival. While business structures carried out at the end of 2020 are, 291,000 businesses. of total operating costs. This is likely to underestimate
some companies were able to continue their however, likely to understate significantly the true the contribution of total remuneration and pay
As discussed in Chapter 2, when the survey of the
operations in 2020, and successfully engaged staff in impact of the crisis, with business closures only to costs, as some directors and owners reported
sector was conducted in December 2020, 13% of the
remote work during the various extended periods occurring after a period of time, particularly as some anecdotally that they did not include themselves on
businesses responding were closed and 5% of those
of closures, many did so with the aid of government businesses have been maintained through public the payroll, and drew irregular pay, expenses, or
had closed permanently (or 1% of the entire sample).
support and funding. Some even maintained or support programs. As these are phased out, it is likely profits from their businesses rather than a salary.
This share is likely to underestimate the number of
increased their profitability, but did so, in part, by that more businesses may not be able to continue
closures, as the businesses participating in the survey On average, 28% of the dealers surveyed reported that
losing some of their workforce. to operate, and a much more in-depth study
were more likely to be active businesses. Other they had downsized their staff during the year, with
of the impact on closures and employment will be
It is estimated that in 2020, there were approximately surveys in 2020 showed much higher rates of closure. layoffs reported of between one and 40 people (with
required in 2021 and in subsequent years in order
305,250 businesses operating in the global art and Artsy’s Gallery Insights Report 2020 indicated that a median of two). The majority of dealers (62%)
to accurately assess the structural changes to
antiques market, the majority of which were small and permanent physical premises closures in their sample kept their employment numbers stable, and a smaller
employment that have been brought about by the
micro-sized businesses, both in terms of turnover ranged from 11% of their respondents in Latin America share (10%) increased staff (with a median of two
COVID-19 pandemic.
and employees.74 The market is estimated to directly to 5% in Asia and Oceania, while galleries in North people added). Downsizing was associated with the
America and Europe reported 6% and 7% respectively. companies that had sales losses during the year.
While new businesses and new premises for existing Those businesses that downsized had an average loss
It is estimated that in 2020, there were approximately businesses were also opened in 2020, early evidence in sales of 30%, those that maintained employment
305,250 businesses operating in the global is that there may have been net closures of physical
locations of up to 2% globally year-on-year.
averaged a 22% year-on-year decline, and businesses
hiring more employees showed an average rise in
art and antiques market, the majority of which were In 2020, the average number of full-time employees
sales of 6%.
small and micro-sized businesses for dealer businesses was five (or seven in total, when
including part-time workers and contractors, down
from eight in 2019). Despite already having very tight
74 A small business is defined differently in different regions, but in Europe, small businesses are those with turnover less than €10 million and staff headcount of
less than 50 (by Europa), and defined in the US, for art dealers, as one with a turnover less than $7.5 million (by the US Small Business Administration). Definitions
vary by industry in China, but in the retail industry for example, a small enterprise is one with less than 50 employees and less than 5 million RMB turnover.
Figure 7.1 | Share of Dealers Downsizing Employment in 2020
a. Share of Dealers by Turnover Downsized Same Increased b. Share of Dealers by Region Downsized Same Increased
100% 5%
100%
7% 9% 7% 7% 6%
10% 12% 13% 12% 10%
18% 18% 20%
28%
80% 80%
66% 49% 41% 51% 63%

60% 62% 63% 60% 47% 68% 72%
63% 75% 48%
74%
44%
40% 40%
20% 38% 20% 41%

37% 35%
29% 32% 30%
28% 25% 28% 28% 25% 22%
18% 16%
0% 0%
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m South US Greater Asia UK Africa Europe France Oceania
America China
While downsizing was cited as a means of reducing precarious position during the year, it indicates turnover in excess of $10 million reducing their (41%), the US (37%), and Greater China (35%).
costs, cutting employment did not necessarily that downsizing did not always result in preserving employees in 2020. While these galleries may have The average numbers employed were larger in these
equate to more profits in 2020. Those businesses that profitability. had more staff to lose in some cases, the portion was regions, with an average reported of 11 (including
reported increased profitability in 2020 actually had also high for dealers with turnover between $500,000 full-time, part-time, and contracted workers) in the
The largest galleries employed the most staff, with
the lowest share of downsizing (24%) and the highest and $1 million, which despite starting the year with US (down from 12 in 2019), and nine in South America.
average headcounts in the dealer sector ranging from
share of increasing employment (14%). Conversely, an average of only six employees, 29% still reported Although a significant number of African dealers
three for those smallest businesses turning over less
those seeing profits decline had the highest share of downsizing. reported downsizing (28%), this region also showed
than $250,000 up to 20 for those with sales in excess
downsizing (30%). While the reasons for downsizing the highest share of increased employment, with 28%
of $10 million. These largest dealers also had the Downsizing was more common in certain geographic
and falling profits are likely to be linked to the of respondents expanding their businesses.
highest share of downsizing, with 38% of those with regions, most notably dealers based in South America
fact that these businesses were in a more financially
Figure 7.2 | Projected Change in Dealer Employment in 2021 In addition to questions about changes in employment It is also notable that galleries with higher sales
in 2020, respondents were asked about future turnover (in excess of $10 million) were the
Decrease Same Increase projections for 2021. The results indicated that despite most likely to be hiring in 2021, despite being more
ongoing pressures on businesses from COVID-19, likely to have downsized in 2020. Anecdotally,
100% most dealers expected employment to stabilize in some businesses at this level reported that there had
12%
23% 20%
24% 25% 2021, with only 7% expecting further declines. been what they described as a ‘knee-jerk reaction
31%
80% to lose staff to save money’ during 2020. Some had
Although this may imply optimism on the part
realized that this was to their detriment over the
of some dealers regarding their sales in 2021, it is also
longer term as they tried to grow sales in 2021, and
60% very likely to indicate that many businesses had
had to look at rehiring. Others noted that they
already reduced their employment structures to their
82% required new types of employees as they had shifted
40% 70% 75%
71% 69% lowest feasible functional level of employees. Nearly
62% more of their sales online and that the shedding
one quarter of the sample (23%) projected that they
of some staff and rehiring in 2021 was mainly about
would increase employment in 2021, and while
20% acquiring new sets of skills for their businesses
most of these businesses were expecting sales to go
as part of their longer-term digital transformation
up also, 22% said they would increase employment
7% 5% 6% 5% 6% 7% strategies.
0% even if sales stayed the same (and 5% would increase
All dealers Under $250k $250k–$500k $500k–$1m $1m–$10m Over $10m
staff despite predicting sales to decline). Despite some changes in skills, employment in
the dealer sector has been shown, in general, to be
The majority of businesses in most regions predicted
© Arts Economics (2021) based around a majority of high-knowledge,
employment to stabilize, with the largest shares
gender-balanced jobs. While ratios in the wider labor
expecting further downsizing in Oceania (12%) and
force favor male participation globally, the gender
Europe (9%), versus only around 5% in the three
Despite ongoing pressures on major markets of the US, the UK, and Greater China
balance in the dealer sector has tended to be more
female dominated. This was again the case in 2020,
businesses from COVID-19, most dealers expected and 3% or less in Africa, the rest of Asia, and South
America.
with the surveys showing that women made up
61% of those working in the sector, stable on 2019.75
employment to stabilize in 2021 The majority of employment was full-time (75%),
with 25% in part-time or temporary positions, up 2%
on 2019.
75 The latest International Labour Organization (ILO) estimates available in 2020 show that women made up 39% of the global labor force (in 2019).
Shares are higher in certain regions including with a share of 46% in the EU (Eurostat, 2020) and 47% in 2020 in the US (Bureau of Labor Statistics, 2020).
7.3 | Auction Sector Employment

There were estimated to be about 14,250 businesses
In the top international auction houses (Christie’s,
Sotheby’s, and Phillips), employment in the US
Despite declining sales Figure 7.3 | Share of Second-Tier Auction Houses
Downsizing in 2020 by Auction House Turnover
operating in the auction market, including both dominated, accounting for 39% of those employed, in 2020, 39% of
online and offline companies. Employment in up 2% year-on-year. The UK accounted for a stable
the sector was estimated to have declined by 2% 34% and there was an additional 13% in other parts of
businesses reported that Decreased Same Increased
year-on-year to approximately 279,700. Europe. China and other parts of Asia accounted for they expected 100%
14%
9%
17%
a 12% share of total employment. In the top-tier houses
Employment in the top-tier auction houses
showed the biggest declines in the sector, falling 13%
in China, employment is more domestically focused employee numbers to 80%
year-on-year based on estimates for the top 10

and centered in Mainland China and Hong Kong, with
less than 5% in Hong Kong and small international
increase in 2021
auction houses, with significant losses in the largest 60% 65%
offices in the top two houses of China Guardian and 63%
top-tier businesses. Although some of these losses
Poly Auction. Employment at Heritage Auctions is also Anecdotally, some experts in the sector noted 75%
were the results of the crisis in 2020, there was 40%
primarily based in the US. that this was again due to the transformation of their
already significant restructuring underway early in
businesses and requirements for new skills and
the year, as these businesses continued to move According to the survey of second-tier auction
expertise in technology, data, and other aspects of 20%
more sales online and consolidate various aspects of houses, the average number employed was stable at
digital marketing and strategies, as well as logistics 23% 26%
their businesses. 20, including an average of 14 full-time employees,
and other services. 8%
three part-time, and three contract-based workers. 0%
All Under $10m Over $10m
The majority of respondents to the survey (63%) had The gender breakdown of employment in the
Employment kept employee numbers stable, with 23% reporting top-tier houses was 66% female, stable year-on-year.
respondents
in the auction sector that they had downsized (with an average loss of three
employees). 14% of businesses reported increasing
The share in the second-tier sector was more
balanced, with 56% female employees (up from 45%
was estimated their employee numbers (with an increase of four in 2019 and 52% in 2018).
on average). Smaller businesses in this sector were
to have declined by 2% more likely to have downsized, with a share of 26% for
In the top-tier auction houses, the majority of
employment was full-time, although the share of
year-on-year those businesses with turnover of less than $10
million versus just 8% for those with higher turnover.
part-time employees fell by 6% year-on-year
to 13%. However, employment in the second-tier
Looking ahead, despite declining sales in 2020,
experienced the opposite trend, with part-time
39% of businesses reported that they expected their
employment increasing by 10% year-on-year to 30%.
employee numbers to increase in 2021.
7.4 | Ancillary Economic Impact

Besides providing employment in the businesses
The global art trade spent businesses spent more on accountants, lawyers, and
a variety of other consultants for their businesses.
Figure 7.4 | Share of Expenditure by the Global
Art Trade on Ancillary Services in 2020
directly working in the art trade, the art market $16.6 billion on One of the biggest declines, on the other hand, was
also generates important economic benefits through
its expenditure on a range of ancillary goods and a range of ancillary and spending on art fairs. As many events were cancelled
Conservation/restoration 4%
Hospitality/entertaining 5%
IT 21%
during the year, this went from being the largest
external support
Travel 6%
services, many in highly specialized, niche industries
area of external expenditure at 24% in 2019, to
that support the activities and transactions of auction Insurance/
houses, dealers, and collectors. Ancillary expenditure services, a decline of 16% just 10% of the total in 2020. While many dealers still
attended a number of fairs and others devoted
security
9%
by the art trade fell significantly in 2020, with

both auction houses and dealers attempting to reduce
year-on-year resources to their art fair OVR exhibitions, spending
fell by 66%, to less than $1.6 billion. This fall in Art fairs 10% Advertising/
costs, while travel, events, and hospitality were all marketing
expenditure is likely not only to have affected the art 19%
significantly curtailed. It is estimated that the global The second-largest area of spending was on
fair industry itself, but also associated businesses in
art trade spent up to $16.6 billion on a range of advertising and marketing, with a 19% share. Although Professional fees 12%
the cities that host fairs, which benefit from the
ancillary and external support services directly linked its share increased slightly, the dollar value of Packing/shipping 14%
added employment, revenue, and fiscal contributions
to their businesses, a decline of 16% year-on-year. expenditure dropped by 8% year-on-year across all
from these events.
businesses to $3.2 billion. As in previous years, auction © Arts Economics (2021)
Most areas of expenditure fell in 2020, with a few
houses accounted for the majority of this (62%) Work-related travel also fell as events were
exceptions, most notably spending on IT (including
and it was their single largest area of external spending, cancelled and restrictions were put in place on global
internal IT development, websites, hardware,
software, and third-party online costs). As they
accounting for 32% of spending across all auction movement in most regions. This expenditure fell from As they continued
continued their digital transformations, dealers and
houses. 11% in 2019 to just 6% in 2020, as spending dropped
to $1.1 billion, around half the level of the previous year.
their digital transformations,
auction houses diverted more resources to IT, with Packing and shipping accounted for 14% of total
spending up by close to 80% year-on-year, making it expenditure at just under $2.3 billion, and was one of
Spending on hospitality and entertaining, often dealers and auction houses
associated with events and art fairs, was also virtually
the highest element of ancillary spending at $3.5 the few areas that rose in value year-on-year (by 3%),
halved, falling 47% to just under $783 million. diverted more resources to
billion (21% of total spending). While auction houses driven by increasing expenditure in the dealer sector.
saw a strong increase of over 50%, dealers’ spending Another area of spending that increased for both
Although some of this was due to less entertaining at
international events, restrictions in domestic markets
IT, with spending up by close
almost doubled to nearly $1.9 billion, the majority of
which was on internal IT development.
auction houses and dealers was fees for professional
services, which advanced 17% to $2.1 billion as
on gatherings and social distancing also meant to 80% year-on-year
reductions in spending on exhibition openings, talks,
and local entertaining.
Figure 7.5 | Ancillary Expenditure in 2019 versus 2020 7.5 | Conclusions the position of those at the higher end of the
The effects of the COVID-19 pandemic varied between market, where buyers may be more insulated from
Billion $ 2019 2020 regions in 2020, as well as between different segments economic trauma. Prior work in the economics
of society. The highest burdens have been on and sociology of organizations in crises has shown that
$5.0 $4.6 the most economically vulnerable people, including the uncertainties they pose can often accentuate the
younger workers, women, and those working divides in a market and lead to greater concentration
$4.0
$3.5 $3.5
$3.2
in small companies and in less secure contractual at the top. In an attempt to reduce uncertainty
$3.0 arrangements who were more likely to lose their and enhance business survival, organizations faced
$2.2 $2.3 $2.1 $2.2 jobs.76 It also placed an uneven burden by sector, with with crises often adopt a more social orientation,
$1.9
$2.0 $1.7 $1.6 $1.5 $1.5 $1.5 those most affected being industries who base their basing transacting on the social position of the partners
$1.1
$1.0 $0.8 $0.8 $0.7 services around face-to-face interaction, events, and they exchange with and increasing exclusivity in
travel. The art market has been uniquely placed their exchanges.77 The greater the uncertainty and risk,
$0.0 to struggle with the realities of this pandemic, being the more likely they are to engage in exchange
IT Advertising/ Packing/ Professional Art fairs Insurance/ Travel Hospitality Conservation/
marketing shipping fees security restoration populated largely by small businesses that rely on relations with those they are familiar with and have
discretionary or non-essential purchasing, and which transacted with in the past. Another outcome of high
© Arts Economics (2021) are strongly dependent on travel and personal uncertainty is greater engagement with organizations
contact. While many businesses are optimistic about
a somewhat better year ahead, the economic fallout
The contraction In 2019, based on average sales per employee in
a range of similar service industries, it was estimated
is likely to extend well into 2021 and beyond, and
will continue to place substantial challenges on those
The pandemic placed
in expenditure by the art that the revenue directly generated by the art trade businesses already in a situation of financial risk. an uneven burden by sector,
in ancillary industries from their spending could have
market had negative supported up to 368,860 jobs. Using the same
In recent years, the art market has continually been with those most affected
shown to be top-heavy in nature, with businesses at
knock-on effects in some of methodology, the employment potential of 2020
the higher end of the market tending to show stronger being industries who
would have fallen to about 308,900. Although these
the specialized industries jobs may not have been lost, it is likely that the
growth in sales than small and mid-sized businesses.
The economic issues brought about by the crisis in
base their services around
that support it contraction in expenditure by the art market in 2020
had, and will continue to have, negative knock-on
2020 could intensify this polarization if it accelerates face-to-face interaction
the decline of smaller businesses and strengthens
effects in some of the small and specialized industries
that support it.
76 Brussevich, Dabla-Norris, and Khalid (2020) “Who will Bear the Brunt of Lockdown Policies? Evidence from Tele-workability Measures Across Countries.”
IMF Working Paper, WP/20/88.
77 Podolny (1994) first proposed this theory that organizations faced with uncertainty engage more with familiar organizations and those of similar status in his
research on the financial sector. See Podolny, J. (1994) “Market Uncertainty and the Social Character of Economic Exchange.” Administrative Science Quarterly,
Volume 39, Number 3.
and individuals of similar market status, which is used the position of well-known artists and galleries and many of the most visited third-party platforms and organizations all reacting in the same way to similar
as a measure of quality. When quality cannot be making it harder for newer and younger ones to online viewing rooms still favor larger galleries constraints become increasingly alike, and the market
directly observed, an increasing number of ties to establish themselves or gain a competitive foothold. and auction houses and branded artists. The biggest becomes increasingly homogenous.79 When some
higher-status actors (for example, galleries or challenge remains in how to attract audiences organizations come under pressure, they may also
However, crises can also bring significant restructuring
artists) is used as a measure of perceived value and in the first place and how to convey quality amid an consciously abandon efforts to distinguish themselves
and innovation within markets. The pandemic
esteem, while a lack of such ties (or ties to lower-status increasing volume of online offerings. How prominent and instead seek safety by a kind of conformity or
created an exogenous shock that has provided the
actors) deflate these valuations. The greater the a business is online and the quality of their products follow-the-leader pattern of behavior. This trend was
impetus for change and restructuring, encouraging
uncertainty, the more each actor relies on the status are two key attributes for making sales, however, noted in the mid-year survey on galleries and
new collaborations and working practices, with
of others to infer their quality, and the more they mainstream online markets have shown that the continued to be relevant throughout the art market
the most fundamental shift being to an increasing
realize their own status is contingent on the status more crowded they become, the greater the influence generally for 2020. Despite having a very wide
share of online sales and exhibitions. Some felt
of their affiliates. So as uncertainty increases, of prominence over quality, as quality and diversity of content, many offerings were delivered in
that this movement online could also have a
relationships and exchanges become more exclusive, reputation signals become lost in increasingly noisy similar ways by auction houses and dealers, using
democratizing influence and reduce the hierarchical
and to the extent that businesses and individuals environments.78 Collectors already remarked on the same tools and presentations, often benchmarking
nature of the art market by leveling the playing
generally avoid exchanges with those of lower status, the extent to which they had become overloaded by competitive offerings from peers, making it more
field. While an increased focus on e-commerce by
the only transactions that can be consummated online content, making it difficult to discover new difficult, especially for new collectors, to distinguish
collectors has helped some smaller galleries, provided
are those among actors of roughly equivalent status, galleries and artists despite the expanding amount of between them at a superficial level and determine
they are adept at online sales and promotion,
making the market both more homogenous and information that has gone online in 2020. quality. As noted in the report, collectors have
more exclusive. commented anecdotally that in some cases the
Another reaction to organizational crises that is
The survey of HNW collectors reflected some of these The biggest challenge relevant to the shift to online sales in the art market,
businesses that stood out the most were in fact those
who had opted for different and more individual
interactions in 2020, with relatively few collectors
(21%) actively looking for new galleries and most
remains in how to attract can be a push to conformity. When businesses are
faced with a crisis and are all reacting to a similar set
approaches, including, but not limited to, low-tech
and offline outreach.
working with ones they already had relationships audiences in the first of circumstances, there can be a trend to copy or
with. Dealers at the higher end of the market also had follow the lead of peers who appear to be successful, While new technologies have therefore undoubtedly
a significantly lower share of sales to new buyers, place and convey quality in order to try to reduce risk and maintain position. been useful for businesses operating in the market,
transacting more with their most established clients.
Most collectors were also sticking to the artists
amid an increasing volume Despite attempts to differentiate themselves, the extent to which the large volume of competitive
they knew, and only 5% were actively searching out of online offerings 78 Taeuscher, K. (2019) “Reputation and New Venture Performance in Online Markets: The Moderating Role of Market Crowding.” Journal of Business Venturing.
new artists. If this applies to a wider collector Volume 34, Issue 6.
79 In their seminal work on organizational behavior, DiMaggio and Powell (1983) describe the ‘inexorable push to homogenization’ and note that even non-critical
base, it will reinforce the status quo, maintaining times can elicit a paradox in the development of many modern industries: The forces energizing this process of isomorphism are at least trifold: coercive
(from external cultural expectations or regulatory pressures to conform); mimetic (when faced with a lack of clear goals, uncertainty or crises, organizations begin
to model themselves on others they perceive to be successful); or normative (with conformity driven by the development of professional standards and conditions
of work). So, while markets are classically envisioned as fields of competitive diversity, in modern practice they are often likely to consolidate. DiMaggio, P. & Powell,
D. (1983) “The Iron Cage Revisited: Institutional Isomorphism and Collective Rationality in Organizational Fields”, American Sociological Review, 48: 147-60.
offerings has overwhelmed consumers has reduced not their preferred choice for viewing or purchasing attend an overseas event. The surveys also indicated focus on smaller, more personal, content-based
their marginal benefits. While having an OVR seemed art, with 75% of those with an opinion either way that when a successful vaccine rollout has been attendance at galleries versus crowded, large-scale
to have been a requirement in 2020, they did not preferring to look at art for sale at a physical or live achieved, willingness to travel and attend events will openings. Some galleries noted that collectors were
automatically confer a benefit or guarantee successful exhibition. Nonetheless, the step into online expand. While it is likely that local events will see already spending more time in their galleries as
sales, and focusing on strengths in content, knowledge, purchasing that was thrust on collectors in 2020 has increased attendance in the first half of 2021, there is larger events were cancelled, and, for some existing
and contacts remained more of a differentiator in reduced some of the psychological barriers to lingering reluctance to travel generally. This is clients at least, this had been successful in allowing
most cases.80 entry for some, and where experiences were positive, reflected in the more general assessments of travel slower and more focused interactions and better
will likely encourage them to do so again, which sentiment. UBS Evidence Lab data on US consumer sales. The auction calendar is also under review and is
Despite these reservations, online sales have
could be an important development for the market. confidence and travel showed that only around likely to continue to evolve in 2021, with a mix of
undoubtedly provided a lifeline for many businesses,
10% of respondents to their surveys felt comfortable online-only, hybrid, and live sales, as well as continued
offering them a way to maintain sales where offline While online sales opens the market up to a
travelling at the end of the first quarter of 2020. collaborations with galleries, fairs, and other actors
contact was not possible. There seems to also be a much vaster global audience, some in the sector fear
This peaked in September (36%) but has declined in the market. How auction houses market key works
general consensus that many of the changes introduced that the new offline market that emerges in 2021
subsequently with new strains of infection and and collections and how and where they are viewed
in 2020 were not transient, and e-commerce is likely will in fact get smaller. Dealers have voiced concerns
intensified waves of the pandemic. In late January before a sale is also changing in some cases, with
to persist as a growing portion of the market’s over closures and downsizing or ‘the shrinking
2020, just over one quarter (26%) of respondents a focus on accessibility and convenience for collectors
turnover. One appealing result of the move to more gallery world’, and the effects this might have on the
in the US were willing to travel, although 47% felt they and vendors.
online transactions is price transparency, which will infrastructure of the market and representation
would be willing to do so in six months or more.81
not only encourage new collectors but also help of emerging artists. The potential of events becoming While international travel may take some time
expand interests of existing collectors to new artists. smaller and more exclusive as distancing requirements The market has been heavily event-driven over the to revive, foot traffic statistics from UBS Evidence Lab
endure has also caused concern that the core art last decade, with live auctions, art fairs, and show some early indications of an eagerness to
Given this transformation, most businesses and
market will become more closed and narrow at the exhibitions central to the exchange of information return to live exhibitions. Based on an index from
collectors are still struggling with how to balance a
top, operating on a two-tier system of high-end and sales. However, there were concerns about before the pandemic began in the US in January 2020,
more online-based market with the shared experience,
offline sales and events, and a much wider low-end, the density of the calendar and the sustainability of foot traffic in galleries dropped dramatically at
social contact, and excitement of discovery that comes
predominantly online marketplace. travel even before the pandemic, and it seems the end of the first quarter of the year, and remained
from visiting exhibitions and sales offline. Collectors
likely that collectors may consider more carefully the persistently down for most of the rest of 2020.
may buy online in some cases when they have to, There does appear to be a strong appetite from
number of events they attend in future. Dealers However, there has been a significant upturn in
but would not necessarily choose to do so entirely. both collectors and the art trade to return to offline
were already auditing their art fair participation as well January and this is likely to continue as the rollout of
Again, the survey of HNW collectors showed that interactions and in-person events. The majority of
as the events that are traditionally associated vaccines begins to make progress, helping to rebuild
while they have been active online in 2020, including collectors surveyed would be willing to attend a local
with exhibitions, with some stressing their increased sales at a local level.
purchasing at the high end of the market, this is exhibition or art fair in 2021, while 45% would
80 Meyer and Rowan (1977) explain that as an innovation spreads, a threshold is often reached beyond which adoption provides legitimacy or normative 81 UBS Evidence Lab (2021) Evidence Lab Insights, available at www.ubs.com/evidence-lab-latest-insights
sanctioning, but not an improvement in performance or competitive advantage. Meyer, J. and Rowan, B. (1977) “Institutionalized Organizations: Formal Structure
as Myth and Ceremony.” American Journal of Sociology, 83: 340-363.
Figure 7.6 | Foot Traffic Index (UBS Evidence Lab) Without many international events, sales at more maintained profits by reducing their staff
local and regional levels were emphasized in 2020, and substantially reducing the costs of travel and
Art museums Art galleries Retail and services however, international exchange and communication exhibitions, these employment losses and the
remain at the core of the global art market. As noted reduction of events have significantly affected the art
140 at the outset of the report, those markets that market and the wider network of ancillary businesses
maintain a healthy flow of cross-border exchange are it supports. The art market makes a substantial
120
likely to see the most positive future growth scenarios. economic contribution in employment, revenues,
100 In the short-to-medium term, in the absence of and the nurturing of specialist knowledge and
the movement of people, the relatively unencumbered skills, not just in itself but also through a network of
80 flow of art could become even more important for ancillary businesses that support the art trade.
market growth. The value added by the sector comes both from the
60
businesses that are directly engaged in the art trade
One of the most serious impacts of the COVID-19
40 and across a range of ancillary service industries
pandemic on the wider art economy will be its effects
that it supports. Most of these are highly specialized
20
on employment. A significant number of businesses
businesses in their own right that would find it
in both the dealer and auction market downsized
hard to exist without the art market, and they, in turn,
0 in 2020, and this rate was highest for larger galleries
Jan-20 Feb-20 Mar-20 Apr-20 May-20 Jun-20 Jul-20 Aug-20 Sep-20 Oct-20 Nov-20 Dec-20 Jan-21 support a range of knowledge-intensive jobs. The
and top-tier auction houses. While there have already
reduction of employment and spending in the art
been several gallery closures, there are concerns
market and the cancellation of large-scale events and
© Arts Economics (2021) with data from UBS Evidence Lab 2021 that more businesses may be under threat as supports
exhibitions therefore has wider implications in
end, eviction protections are removed, and businesses
the global economy that will continue to unfold
default on accrued rent payments. Dealers and
in 2021.
While international travel may take some time auction experts noted anecdotally that some larger
businesses, while remaining open and profitable,
to revive, foot traffic statistics show were shedding employees and closing premises as
part of cost-cutting drives, while others were
some early indications of an eagerness to return focusing on accessing cheaper and fewer premises,
to live exhibitions all potentially negatively affecting the market’s
economic contribution. While some businesses
Appendix
352 Appendix – Sources Used in The Art Market 2021 353
Appendix –
Sources Used in The Art Market 2021
The information and data compiled for The Art I. Auction Data that no longer publish their data publicly. Leveraging As noted in Chapter 3, the Chinese auction sector uses
Market 2021 comes from a wide range of sources. The auction sector provides one of the main blockchain, the Registry also tracks provenance different categories and sectors than other auctions.
All of the data is gathered and analyzed directly large-scale, international, and publicly available and title, and it distinguishes trusted from non-trust- The main categories of art used by AMMA are:
by Arts Economics from dealers, auction houses, art information sources on individual transactions in the ed data. By working directly with auction houses,
a. Chinese painting and calligraphy: This sector is
fairs, art and antique collectors, art price databases, art market. Even though the results of many auction galleries, living artists, museums, and manufacturers
traditional Chinese art, which mainly comprises of
financial and economic databases, industry sales are in the public domain, aggregating data to create records, the Registry reduces the risk
Chinese ink paintings on different media such as
experts, and others involved in the art trade and within this part of the market is not without issues, of permanently recording poor quality information
Xuan paper, silk, or fans. It can be divided into: ‘Chinese
its ancillary services. particularly on a global scale, with some auction on the blockchain while making data accessible to
calligraphy’, where subject matter is calligraphy
houses publishing limited, selective, or no results at all for free.
For the purposes of this research, the art and based on poems and ‘words with great wishes’; and
all. There is no single comprehensive source or
antiques market includes sales of fine and decorative b. AMMA ‘Chinese painting’.
database that covers the entire global auction market
art and antiques. Fine art includes paintings, sculptures Both fine and decorative auction data for the Chinese
for fine and decorative art and antiques. Auction b. Oil painting and contemporary art: This encompasses
and works on paper (including watercolors, prints, art market is supplied by AMMA (Art Market Monitor
data for 2020 used in this report therefore comes works created by Chinese artists who adopted
drawings, and photographs), tapestries, as well as of Artron). Artron.net was founded in 2000 as an
from five main sources: Western techniques and media (such as oil painting,
film, video, and other new media. Decorative art and interactive online community devoted to Chinese
photography, sculpture, installation, pencil sketch,
antiques covers objects such as furniture and a. Artory works of art. AMMA is a market data service platform
gouache, or watercolor), after oil painting was first
decorations (in glass, wood, stone, ceramic, metal, or Global auction data is supplied by Artory (artory. for Chinese works of art and the research institution
introduced to China in 1579.
other material), couture (costumes and jewelry), com). Artory’s database covers 4,000 auction houses of Artron Art Group, focusing on data search,
ephemera, textiles, and other antiques. with over 35 million records, with consistent auction artwork valuation, indexing, data reporting, and other c. Ceramics and other wares: Ceramics are decorative
results gathered annually for 250 businesses relevant services of the Chinese market. It has the artworks made from cornish stone, kaolin, quartz
in 40 countries and 500,000 artists. The database most comprehensive and reliable available database stone, and mullite. The other wares are mainly works
comprises results from major sales in first- and on the Chinese art market, with over 6.5 million made from or based on bamboo, wood, walnut,
second-tier auction houses around the world, and it results from more than 31,000 sales from over 1,000 teeth, and horns. They also include works made with
does not restrict inclusion by final price or estimate auction houses since the first art auction in China writing brushes, ink sticks, ink slabs, paper, Chinese
value, hence, offering coverage of the full range of in 1993. There are roughly 600,000 additions to the lacquer and embroidery, as well as Buddha figures,
prices and sales. In 2018, Artory launched The Artory database annually. gilding, and other small decorative works such as
Registry, the industry’s first public, object-oriented hangings and bracelets.
database for the art and collectibles market. In 2020,
Artory continued to grow the number of auction
houses in the database and stopped tracking houses
c. Invaluable For historical auction data, various sources were used Economics conducted two dealer surveys in 2020. Figure 1 | Geographical Distribution of
Invaluable (invaluable.com) was launched in 2009 in compiling previous reports, including Auction The first survey was conducted online in July and sent Respondents in 2020
and is the largest online global auction platform Club (2017), Collectrium (2016), Artnet (2011–2015), to over 3,000 galleries worldwide, covering only
specializing in art, antiques, and collectibles, with and Artprice (2008–2010). dealers in Modern and contemporary art. This survey Oceania 2%
Africa 3%
a database of over 66 million price records from received 920 responses, and 795 were used in the South America 6%
more than 4,000 global auction houses. Invaluable II. Dealer Data analysis (with 125 excluded as they were incomplete
supplied anonymous, aggregated annual data Data on dealer sales is more complex to gather due to or not relevant to this particular study due to the Asia 15%
on offline versus online sales for more than 1,300 the private nature of transactions in the sector. Most of sector they dealt in). The second survey was sent to
auction houses that held sales in 2020. the companies in the sector are small businesses with a wider group of over 6,000 dealers from the US,
only a very small number of publicly listed companies, Europe, Asia, Africa, and South America. The survey Europe 54%
d. Auction Houses’ Published Results
which means detailed information and financial results was distributed to the memberships of some of the
To supplement the coverage provided by these
in public and private databases is limited. main dealer associations around the world, including
databases, Arts Economics has also developed its own North America 20%
CINOA, SLAD, SNA, CPGA, ADAA, FEAGA, and other
internal, international auction database, collecting Various official sources and company reports are used
national associations. It was also distributed by Art
data directly on an annual basis from the published in compiling figures on the sector. These include
Basel directly to over 500 individual galleries who
auction results and press releases of auction houses. Eurostat, the US Bureau of Labor Statistics, the Office
participated in their shows in Basel, Miami Beach, and © Arts Economics (2021)
for National Statistics in the UK, Companies House,
e. Auction House Survey Hong Kong in 2019 and their OVRs in 2020. This
Insee, Infogreffe, the National Bureau of Statistics
Arts Economics distributes two surveys in the auction survey received 1,018 responses, and 98 were removed
of China, and many others. However, these sources are
sector: a comprehensive top-tier survey of the top due to lack of data and other issues, with 920 used
limited in scope and coverage and, in some cases,
10 auction houses worldwide plus a second-tier survey in the analysis.
publish data with a significant lag and only for a very
of around 500 national second-tier auction houses
small proportion of companies relevant to this report. The galleries covered in the end of year survey were
(with a response rate of 20%). The auction surveys
Comparisons are also problematic between nations geographically diverse, covering over 55 different
provide additional sales data as well as a range
due to differences in the units used, the records markets. The highest regional share was galleries and
of other more in-depth information on employment,
required and how they are defined and recorded, and dealers from Europe (54% of the sample and 59%
buyers, profit margins, debts, and other aspects of
the classification of companies by sector and activity. of the sample in July), with 20% from North America.
the auction market that are used in the report.
90% of the dealers responding were fine art dealers
The surveys are sent directly to the auction houses To overcome the lack of publicly available data, surveys
and 10% were businesses working in antiques and
from Arts Economics’ database. of this sector are an important element of the research
decorative arts sectors.
process. To compile data on the dealer sector, Arts
Figure 2 | Share of Respondents by Reported Annual Turnover III. Contributions from External Authors York. She fulfilled various roles at Sotheby’s including
as its first Global Compliance Director, as well as
Diana Wierbicki
a. 2019 b. 2020 European General Counsel and Global Head of
Diana Wierbicki is a Partner and the Global Head
Over $10m Over $10m Litigation. More recently, she was part of the global
8% 6% of the Withers Art law practice. She advises clients on
$5m–$10m business and client development leadership team.
$5m–$10m
6% art purchases, sales, loans, consignments, and
8% Under $250k She currently lives and works in London.
28% charitable and tax planning. Her clients include the
Under $250k industry’s top collectors, dealers, galleries, charitable Matthew Israel
38%
organizations, artists, and museums. She has been Matthew Israel is a curator, writer, and art historian
$1m–$5m
24% quoted in various news outlets, including The New and is co-founder and Chief Curator at Artful, a new
$1m–$5m York Times, CNN, Bloomberg Business, BBC, and company offering contemporary-art-focused travel.
26%
Barron’s, and she has written articles in publications For the past twenty years, Matthew has worked
$250k–$500k such as Forbes, Trusts & Estates, Crain’s, and Wealth with some of the most influential contemporary
16%
Management, and is the co-author of the Fifth Edition artists and art institutions, most recently Artsy, where
$500k–$1m
$500k–$1m 13% $250k–$500k of Art Law: The Guide for Collectors, Investors, Dealers he was Director of The Art Genome Project and Head
13%
14%
& Artists. As an active member of the art community, Curator, between 2011 and 2019. He has written
Diana serves as co-Chair of the Appraisers Association three books: Kill for Peace: American Artists Against the
of America’s Art Law Day, as Chair of the New York Vietnam War (2013), The Big Picture: Contemporary
City Bar Association’s Art Law Committee, and co-Chair Art in 10 Works by 10 Artists (2017), and A Year in the
Galleries also varied in the size of their annual sales businesses are very conservatively estimated of the American Bar Association’s Art and Collectibles Art World: An Insider's View (2020). He currently
turnover. According to the end of year survey in 2020, based on official statistics and censuses that report Committee. She is also a member of the Professional lives and works in New York. Matthew would like to
in 2019, 58% had annual sales of less than $1 million sales by industry, business, or sector. As some of Advisory Council of the Metropolitan Museum of Art, thank the following people and organizations for
(including 28% with less than $250,000), and this the highest-selling dealers may not answer surveys, the Planned Giving Advisory Council of the New York their time speaking to and/or corresponding with him
rose to 64% in 2020. While 8% of the sample reported the survey results are also checked and adjusted Historical Society, ArtTable, and an affiliate member about the ideas discussed in his commentary on
sales in excess of $10 million in 2019, this dropped using the reported turnover of the highest-selling of the Association of Professional Art Advisors. OVRs: Katharina Ruf and Noah Horowitz, Art Basel;
to 6% in 2020. A further breakdown of both years is galleries and dealers as reported in Companies Matt Rubinger, Christie’s; Jessica Silverman, Jessica
Rena Neville
provided in Figure 2. House, as well as other databases of company Silverman Gallery; Joe Elliot, Artlogic; Mike Steib,
Rena Neville is the founding Director of Corinth
records. The survey was supplemented by a series of Artsy; Elena Soboleva, David Zwirner Gallery; Belinda
The dealers covered in the survey are estimated to Consulting Limited (www.corinthconsulting.com).
interviews with dealers in different sectors and Bowring, Frieze; Jeremy Hodkin, The Canvas; Jake
account for between 70% to 80% of the value of sales Rena is a New York qualified lawyer with extensive art
markets conducted from June 2020 to January 2021 Nyquist, Hook; Alexander Wolf, Gagosian; Alison
in the sector, depending on the country. The survey market experience. She began her law career on Wall
to gain in-depth insights on the art market, which McDonald, Gagosian; Kristen Joy Watts, Instagram;
allows us to estimate the value and changes in this Street at Sullivan & Cromwell and then enjoyed a
were used to inform the analysis in the report and and Hidde van Seggelen, TEFAF.
core majority share of the market, while the addition 30-year career at Sotheby’s in both London and New
help interpret the findings.
to sales from the remaining very numerous small
IV. Artlogic VII. UBS Investor Watch Survey To assess if they were active in the art and collectibles VIII. Secondary Sources
Data on gallery-based websites and OVRs was Arts Economics partnered with UBS Investor Watch markets, respondents were also initially screened by The report uses a large number of secondary sources
provided by Artlogic. Artlogic is a leading provider of to conduct a survey of HNW adults in 10 different asking if they had purchased a range of assets and these are cited throughout the report. Some
online solutions for the artworld, working with over markets in 2020, the largest survey of its kind. including art, antiques, and other collectible items in key sources used for data in the report on a regular
2,000 galleries, artist studios, collections, and art fairs The survey used panels provided by Dynata from the the last two years. To qualify for inclusion, each basis include:
in 70 countries. Artlogic provides integrated database, following markets: respondent had to have spent a minimum of $10,000
– UBS/PWC Billionaires Reports 2021 and other years;
sales, marketing, website, and OVR products that help on these works of art or objects in both 2019 and
– US – UBS Billionaires Insights Reports (various years);
art businesses run efficiently online. The company 2020. This screening process continued until there
– UK – UBS Global Financial Markets Reports (2019/2020)
was founded in 1994 and operates from London, New were a minimum of 400 suitably qualified responses
– France and Year Ahead 2021;
York, and Berlin. for the US, 300 from Mainland China, and 200 from
– Germany – Forbes Billionaire Lists and Database;
each of the other markets surveyed. A quota on
– Italy – The IMF World Economic Outlook (Database);
V. Artsy gender was also applied to ensure a more balanced
– Singapore – UN Comtrade Database (Imports and Exports);
Data on galleries and art fairs was supplied by Artsy.net. representation of male and female collectors,
– Hong Kong – Credit Suisse Global Wealth Databooks and Reports
Artsy was launched in 2012 and is the largest and with the overall gender breakdown of the aggregate
– Mainland China (various years);
most used online fine art marketplace, with more than sample being 46% female, 52% male, and 2%
– Taiwan – Eurostat Labour Force Surveys;
1 million works of art produced by more than 100,000 identifying as non-binary.
– Mexico – Bureau of Labor Statistics Database;
artists listed by over 3,000 partner galleries, 25 auction
In terms of their age profile, the aggregate sample – USITC DataWeb; and
houses, 80 fairs, and 800 museums. The survey received full, qualified responses from
was broken down as follows: – HM Revenue & Customs UK Trade Database.
2,569 collectors from these regions. The individuals in
VI. Online Data Sources the sample all had household investable assets in – 4% aged under 23 years, or Gen Z;
Data on website traffic was taken from SimilarWeb excess of $1 million, excluding real estate and business – 52% aged 23-38 years, or Millennials;
in the months between December 2020 and January assets. 34% of the total sample had wealth between – 32% aged 39-54 years, or Gen X;
2021. This data is dynamic and changes over time. $1 million and $5 million, 17% between $5 million and – 12% aged 55-73 years, or Boomers; and
It should therefore be considered only as a relative $10 million, and the remaining 48% over $10 million – 0.4% aged 74+ years, or Silent generation.
view of the companies presented at a point in time. (including 15% in the ultra-high net worth category of
Other data was taken directly from social media sites, $50 million-plus).
including Facebook, Instagram, and Twitter.
Publisher Rights List of artists featured in
This report is jointly published by Art Basel and UBS All rights reserved. No part of this publication may The Art Market 2021
be reproduced, stored in a retrieval system, or in order of appearance
Art Basel transmitted, in any form, or by any means, electronic,
MCH Swiss Exhibition (Basel) Ltd. mechanical, or otherwise without prior permission Kehinde Wiley 24
Messeplatz 10, 4005 Basel, Switzerland in writing from Art Basel and UBS. UBS accepts no Shahroudy Farmanfarmaian 26
T +41 58 200 20 20 liability for the actions of third parties in this respect. George Condo 37
www.artbasel.com, [email protected] Matt Mullican 48
Disclaimer Jeffrey Gibson 57
UBS This document and the information contained Petra Cortright 65
UBS AG or an affiliate herein are provided solely for information and marketing Tom Burr 73
Bahnhofstrasse 45, 8098 Zurich, Switzerland purposes and have not been tailored to the specific Ai Weiwei 100
T +41 44 234 11 11 needs, investment objectives, or personal and financial Zilia Sánchez 131
www.ubs.com circumstances of any recipient. It is not to be regarded Louis Fratino 147
as investment research, a sales prospectus, an offer El Anatsui 159
Author or solicitation of an offer to enter in any investment Ivan Navarro 170
Dr. Clare McAndrew activity. It is not to be construed as legal, tax, accounting, Kenneth Bergfeld 204
regulatory or other specialist or technical advice Philip Guston 208
Design
or investment advice or a personal recommendation. Neïl Beloufa 215
atelier MUY
Information provided herein with respect to this report, Frog King 249
Print including valuations and financial results, has been Tschabalala Self 259
Gremper AG provided by Arts Economics and Dr. Clare McAndrew. Julian Charrière 264
Neither UBS AG nor its affiliates have verified the Nyapanyapa Yunupingu 291
Binding accuracy of said information or make any representations Keith Haring 305
Grollimund AG or warranties as to the accuracy or completeness of Bharti Kher 317
such information. Prior performance is not indicative of Takeo Hanazawa 327
future results. UBS is under no obligation to update Christina Quarles 328
or keep current the information contained herein. Anicka Yi 350
Neither UBS nor any of its directors, officers, employees
or agents accepts any liability for any loss or damage
arising out of the use of all or any part of this document
or reliance upon any information contained herein.
For this UBS Investor Watch collaboration, 2,569 high

net worth individuals were surveyed (with at least
$1 million in investable assets) that had spent $10,000
or more on art and/or antiques in both 2019 and 2020.
The global sample was split across 10 markets: the UK,
the US, Mainland China, Singapore, Taiwan, Hong Kong,
France, Italy and Germany and Mexico. The survey
was conducted in December 2020.
UBS Evidence Lab is a separate business to UBS Global

Research and is not subject to any of the independence
disclosure standards applicable to material prepared by
UBS Research. UBS Evidence Lab provides data and
evidence for analysis and use by UBS Evidence Lab clients
including UBS Research and does not provide research,
investment recommendations or advice.
UBS Financial Services Inc. is a subsidiary of UBS AG.

Member FINRA/ SIPC.
© 2021 Art Basel | UBS

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The Art

An Art Basel & UBS Report

Tables and Figures

1 The Global Art Market in 2020

Key Findings 266

Tables and Figures

Chapter 3 looks at the auction sector, analyzing key

Chapter 4 provides an overview of art fairs, reporting

Director’s Foreword Foreword by UBS

Global 1. Global sales of art and antiques reached an

2. Online sales of art and antiques reached a record

4. Sales in the US art market fell by 24% in 2020 to

5. Greater China’s sales decreased by 12% in 2020 to

6. Sales in the UK declined by 22% to $9.9 billion in

5. Despite its biggest fall in sales since 2009, the US

1.1 | Overview of Global Sales

Billion $ Annual % change Value Volume

$80 50% 44%

$70 $68.2 $67.7

© Arts Economics (2021)

leading position in the global ranks with a share 60%

© Arts Economics (2021) helped to move Greater China statistically on a

The US market retained sales despite a very challenging year as businesses

2 Trade data for the US is from the USITC DataWeb.

then after several years of parity, the UK had pulled

Exhibit 2: The Anti-Money Laundering Difference: Knowing the Ultimate Customer

4. Almost half (48%) of dealers surveyed accessed

Share of respondents Share of respondents

© Arts Economics (2021) © Arts Economics (2021)

1% of the dealers surveyed had closed

Change in annual sales Share of works sold 2019 2020

© Arts Economics (2021) © Arts Economics (2021)

Dealers working in the contemporary art market

Figure 2.7 | Dealers’ Outlook on Future Sales in 2021

60% 60% 81%

© Arts Economics (2021) © Arts Economics (2021)

Regionally, some of the lowest levels of optimism

Figure 2.10 | Change in (Net) Profitability in 2019 versus 2020

24% 23% 25%

58% 58% 60%

© Arts Economics (2021) © Arts Economics (2021)

© Arts Economics (2021) © Arts Economics (2021)

they already knew. While this indicates that smaller

Figure 2.14 | Number of Artists Represented by Dealers in 2020

© Arts Economics (2021) © Arts Economics (2021)

20% 37% 40%

© Arts Economics (2021) © Arts Economics (2021)

© Arts Economics (2021) © Arts Economics (2021)

© Arts Economics (2021)

58% of dealers felt they had received

© Arts Economics (2021) © Arts Economics (2021)

While most dealers felt that access to support locally

Figure 2.23 | Dealers’ Perceptions of Performance in 2020

© Arts Economics (2021) © Arts Economics (2021)

finding ways to cut costs to maintain profitability.

Relationships with existing collectors 63% Online sales/exhibitions 47%

Widening the geographical reach 32% Art fairs 43%

Current artist exhibitions 28% Widening the geographical reach 38%

Finding new artists 20% Finding new artists 24%