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The Digital Collector

Has the internet changed the way we buy and sell art? Gemma Tipton samples some sites to see what's going on out there in cyberspace.

Screengrabs of the homepages of artbusiness.com, artnet.com and artprice.com

How is art bought and sold, from where does 'value' derive? The internet has become a vast research tool, as well as global auction house for art treasures and the Trojan horses that are art fakes. Perhaps the best way to assess the impact of the internet is to look at a selection of sites to see how they operate, and what they offer.

artbusiness.com/faketutorial.html
How to Sell Fake Art on Ebay: a step-by-step (and definitely tongue-in-cheek) guide by Alan Bamberger on how to put together your own internet art fraud. Suggestions include cutting images out of old books, "choose images which are printed on heavier paper, and make sure they're blank on the backs with no text"; faking a signature "If you have trouble faking an artist's name, fake only the artist's initials"; to tips for protecting yourself: "only guarantee the medium..." The artbusiness.com homepages also link to their own appraisal services (handy after reading about all that fraud), and some excellent articles for both artists and collectors. They also run an occasional series of Art Picks from eBay which analyses recent eBay art sales.

artnet.com
Artnet is an absolutely brilliant research tool. Their enormous database allows you to look up artists by dealer, exhibition or bibliography. The Fine Arts Auctions Database (FAAD) is a subscription service, which enables auction and results searches. Lucille Blair at FAAD says, "Having a presence on the internet can have a significant impact on a gallery's sales. They reach a wider audience and broaden their market." The FAAD database is updated daily and "is representative of the past eighteen years with more than 2.8 million entries and includes the works of over 180,000 artists." That kind of information was in existence of course before the internet, but, according to Blair,

FAAD has become an integral part of the way the art world appraises and prices fine art. The fact an individual collector can also check the same sales results as an auction house specialist or dealer has had seemingly little impact on whether a work is sold or not. Auctions are a public market place. The only secret is often who buys the work, not what it fetches.

Artnet discontinued their online auctions service in 2000, but (bizarrely enough) they do horoscopes, which I have found rather addictive. Not your normal waffle, here's an example from May: "Cy Twombly's work is coming of age. His exhibition at the Serpentine Gallery in London is apt and his work perfectly captures the elusive quality of the ongoing influence of Uranus in Pisces and Neptune in Aquarius." So now you know.

artprice.com
With European and US homepages, artprice.com will dispel any doubts that there is a large part of the artworld that is all about money. Artprice is a subscription service that allows you to track artists in upcoming auctions, "detect the emerging artists through their biographies and backgrounds," check signatures for authenticity (or copy them, see artbusiness.com above), and follow price levels and indexes. The artprice.com online demo currently demonstrates that Robert Rauschenberg had a 48% fall in turnover between 2002 and 2003, and that his price index had fallen by 21% too. Pie and bar charts show that 94% of his sales between 1997 and 2003 were in the US, with only 6% in the rest of the world. Rauschenberg had a turnover of $1,498,104 in 2003, although that doesn't come near the heights of 1997 when he reached $8,531,744. artprice.com is absolutely gripping and fascinating, and can turn the way you look at art, from figurative to figures. Look at the artwork, see the trendgraph.

artsiteguide.com/ebayfakes
Ebay Art Forgeries - has eBay become the Sotheby's for Hicks?: John Seed rates some recent eBay sales, from a 'Picasso' drawing which sold for $860.00 (one star); to a 'de Kooning' pastel and crayon, sold for $4,350.00 (two stars); to a 'Basquiat', sold for $5,763.00 (three stars); right up to a Heckel, which Seed says is "possibly authentic" and had an opening price of $1,825.00, although the article concludes that you should "save your money and go to Christie's or Sotheby's. Works like this one will never have their authenticity verified."

askart.com
After having been fascinated by artprice.com, askart.com is another subscription service (with some 'free' categories) worth looking at. Search databases and look up tables, facts and figures. You can also be sent alerts when an artist on your list of interest has a new posting at askart.com, including details of any work coming up at auction. At askart.com, the list of Top 100 American Auction Prices (1998 - 6 May 2004) was headed by George Wesley Bellows at $27,702,500, with the top Jasper Johns (in eighth place) making $12,100,000. Meanwhile another table, Top 100 Record Prices by Sq. Inch (at 6 May 2004) was led by John Ramage at $476,862, with Jasper Johns coming in second this time at $29,728 per square inch.

auctionguide.com/dir/Art
A page of links to art-auction sites from fine art and antiques, contemporary art, ethnic art and craft; to individual galleries and self-representing artists. Some of the links are out of date, but it's quite daunting to see the scale of selling going on out there.

christies.comıChristie's don't conduct online auctions, although they do have a service enabling you to leave bids online for particular lots. Buyers can download catalogues and view auction results. You can also e-mail Christie's for more in-depth appraisals. Jill Potterton at Christie's says, "buyers at Christie's want to come and see what they are buying, attending the sale is still very important to people."

ebay.com
eBay is amazing. Everything you could think of wanting, and a lot more besides, is for sale through the internet site that has changed the way we buy and sell. Search in the contemporary-art category for Picasso, and you'll find all sorts of paraphernalia and tat, with a few gems in there too. On March 4 this year, a Picasso collage was sold for $160,000. Searches for Koons, Rauschenberg and Rothko also yielded results, although you have to plough through a lot of 'Rothko' style' attempts before you find anything purporting to be genuine. See artbusiness.com/faketutorial.html (above) to find out how to make and sell your own Rothko...

nytimes.comıA series of articles on the New York Times website on May 9 and 10 2000, and March 9 2001, trace an eBay art-auction fraud. Interestingly enough, those indicted were charged with manipulating bidding (mail fraud), rather than with selling fakes. To find the features, search site under date and headline: EBay Art Auction May or May Not Be Modern Classic; Online Seller of Abstract Work Adds a Money-Back Guarantee; 3 Charged with Auction Fraud, and for the author Judith H. Dobrzynski, or copy over the following URLs: nytimes.com/library/tech/00/05/biztech/articles/09ebay.html,

nytimes.com/library/tech/00/05/biztech/articles/10ebay.html, nytimes.com/library/tech/00/05/biztech/articles/10ebay.html,

Screengrabs from ebay.com, nytimes.com and whytes.ie

whytes.ie
Like Christie's, Whytes has downloadable catalogues, auction results and a facility to e-mail bids for forthcoming auctions. The online article How to Bid and Win explains bidding in detail, including insider tips and tricks on how to get your lot. According to Ian Whyte, between 5% and 10% of bids are submitted online.

Most of these are from outside Ireland, with the majority from the USA. We estimate a further 15% to 20% are generated from our site. 36,600 people visited our site last year, an average of 100 per day. The highest day is usually the day after a sale when we post results, usually attracting 400 to 500 visits... About 10% of first communications with potential vendors is from the website.

What the internet has done is to demystify the art market. Looking at flow charts of how an artist's price has risen and fallen (artprice.com) has taken much of the glamour out of the previously arcane world of auction houses, and dealers' records and ledgers. The relentless pursuit for the new discovery or the incredible bargain is hardly new, but the internet brings it all that little bit closer. It has also broadened the reach of both dealers and buyers; the catalogues of an auction house in Dublin can now be accessed instantly by buyers in San Francisco. The price of a work of art, the 'value' it has to a potential buyer or collector, still remains a complex thing, fabricated from layers of aesthetics, provenance, exhibition history, scholarship, art theory and criticism, and appraisals. While the results of these considerations are more easily accessible since the advent of the internet, the ownership of how these matters are decided still remains in the hands of a relative few.

Gemma Tipton is a writer.

Article reproduced from CIRCA 108, Summer 2004, pp. 33-35.

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