The antique art auction market is greasy and the truth
The antique art auction market, for many people, is a world full of mystery and **. Here, rare works of art are sold at an astonishing price, while little is known about the stories behind them.
However, this market is not as glamorous as it seems, and there are many hidden tricks in it.
This article will delve into the inside story of the antique art auction market and reveal the truth.
1. The alienation of collectors from large auctions
According to a sample survey, a whopping 99% of collectors never buy art at a major auction. Why? It turns out that these collectors, who have been in the market for many years, have long been well aware of the reasonableness of art in the market.
They are well aware that the artworks at large auctions are often inflated, full of speculation and speculation. Therefore, they are more willing to look for those reasonable and high-quality works of art through other channels, such as private transactions, antique markets, etc.
So, who's holding up their cards? Beginners, investors, speculators, gift givers, trusts, "washers", and people with special needs. These people often lack an in-depth understanding of the art market, and are easily attracted by ** lots and become the object of market speculation.
2. The mystery of "sky-high" lots
Lots worth hundreds of millions of yuan and tens of millions of dollars can always attract the attention of countless people. However, the true origin and whereabouts of these sky-high lots are often confusing, and even the general staff of the auction house may not be clear. These lots are often top secret and are controlled by a small number of predators.
They make huge profits by manipulating the market** and creating market bubbles. In domestic and foreign auctions, such cases are not uncommon.
They sometimes pull up shipments, calling for wind and rain; Sometimes "the plank road is repaired, and the Chen Cang is secretly crossed"; even shouted, "The era of 1 billion yuan in art auctions is coming." "This kind of speculation not only disrupts the market order, but also harms the interests of consumers.
Third, the disconnect between the hammer transaction and the delivery of funds
At an auction, once the auctioneer shouts "deal," many people assume that the deal is done. However, this is not the case. In many cases, instead of paying immediately, the buyer enters into some kind of agreement with the seller to delay the payment or pay in installments.
This disconnect between the hammer transaction and the delivery of funds has brought great uncertainty to the market. On the one hand, it may cause the seller to not receive the payment in time, affecting the capital turnover; On the other hand, it can also trigger the risk of default by the buyer, resulting in losses for the seller.
Fourth, the dismantling of the myth of unique products
In the antiques market, one-of-a-kind items are often seen as treasures within treasures. However, this is not the case. Many of the so-called "one-of-a-kind" are not alone, and there are often many similar works of art in the world.
For example, the so-called unique products such as the Yuan blue and white Guiguzi down the mountain jar and the enamel colored brocade chicken bottle, after in-depth research, can often find that they are not unique. The shattering of this one-of-a-kind myth has left many collectors questioning the authenticity of the market.
Fifth, the antique trade within the family turned to auctions
The buying and selling of antiques between siblings is a normal thing, however, in the antique art market, such intra-family transactions are often transferred to auctions.
Why? It turns out that some sellers want to ensure the fairness of the transaction and avoid family disputes through the openness and transparency of the auction.
At the same time, auctions can also provide sellers with a wider group of buyers, increasing the turnover rate of antiques. However, this practice also increases the cost of the transaction and the cost of time, which may not be cost-effective for some sellers who are not in dire need of funds.
Sixth, the purchase of the lot is almost the last baton
In the antiques market, many lots have changed hands many times and have far exceeded their actual value. As a result, they are likely to be the last stick for those who buy art at auction.
Once the market winds change or the buyer's capital chain is in trouble, these ** purchased artworks are likely to face the risk of depreciation or inability to sell.
For example, in the 80s of the last century, wealthy Japanese bought Western oil paintings in large quantities, and now they are depreciating by at least 50%. This is a typical example.
Therefore, for buyers, when buying artworks, they should not only consider their artistic value and cultural connotation, but also fully consider their market risks and investment value.
7. The interest orientation of large auction companies
In the antiques market, large auction companies often play a pivotal role. However, these companies often have the problem of profit orientation in the process of operation. They tend to attract buyers who are willing to hold up their cards to buy something, and there is often a lack of attention for those who just look and don't buy. This kind of profit orientation can not only lead to market imbalances, but also harm the interests of consumers.
8. The black whistle phenomenon in the collecting world
In football, the phenomenon of black whistles has always been in the spotlight. However, in the antiques market, the black whistle phenomenon is just as present and more severe.
Since the state does not have a special appraisal agency to evaluate the value and authenticity of artworks, many so-called "experts" take the opportunity to fish in troubled waters and fill up the numbers indiscriminately. They often lack professional knowledge and skills, but pretend to be experts to provide so-called "professional" advice to buyers, thus influencing buyers' decisions.
This black whistle phenomenon not only disrupts the market order, but also harms the interests of consumers.
9. Lack of a real evaluation agency
In the antique art market, the value and authenticity of works of art are often difficult to determine. Since the state does not have a special appraisal agency to evaluate the value and authenticity of the artwork.
Appraisals are carried out, so the appraisals in the market mostly rely on the appraisal reports of some so-called "experts" or auction companies. However, these assessments often lack objectivity and impartiality and are susceptible to a variety of factors of interest.
Buyers often have difficulty obtaining accurate appraisal information when purchasing art, which increases investment risk.
Therefore, the establishment of an independent, impartial and professional appraisal body is essential for the healthy development of the antique art market.
10. Beginners are often misled
For those who are new to collecting, they are often susceptible to all kinds of misleading due to a lack of expertise and experience.
Some unscrupulous merchants or ** will take advantage of the ignorance and greed of newcomers to shoddy and fake to defraud them of their money.
In addition, some so-called "experts" or "teachers" will also teach so-called "secrets" or "know-how" to new collectors in various names, in fact, for personal gain. Therefore, new collectors should keep a clear head and a cautious attitude when learning and appreciating artworks, listen to the opinions and suggestions of professionals, and avoid being deceived.
To sum up, although the antique art auction market is full of mystery and **, it also hides many unknown tricks.
As buyers and collectors, we should keep a clear head and be cautious in looking for those works of art that are truly valuable and culturally meaningful in the market.
At the same time, the society should also strengthen the supervision and regulation of the market, establish more perfect laws and regulations and market mechanisms to ensure the healthy development of the antique art market. Only in this way can we truly appreciate the charm and value of antiques and artworks, and feel the historical and cultural connotations they carry.
Author's Note:
In today's society, antique collection has always attracted much attention and attracted the attention of many collectors. However, this was followed by many fraudulent methods by auction companies, which caused countless collectors to suffer huge losses.
The reason why you will be deceived is not that you don't have a certain understanding of collectibles, and you always think that your things are worth millions, or even tens of millions, and others just take advantage of your own greed and let you be fooled step by step.
always wanted to get rich overnight, but it turned out that in the end, I found out that my things were not worth anything at all, and I was deceived by hundreds of thousands before I woke up.
If you have a certain understanding of the collection, it is estimated that you will not be deceived.
This "Guide to Chinese Antiques" just records the identification knowledge of porcelain, calligraphy and painting, coins, etc., which can make you realize what kind of antiques are valuable.
It also contains antique auction knowledge, so that you know what kind of auction company is reliable, and help you analyze how not to be deceived.
Because it records all kinds of auction routines and acquisition frauds, it also contains the author's summary of being deceived, which can make you recognize the current auction market routines and how the other party made you deceived.
It's clearly documented. In addition, the book can also give you tips on how to sell your own collectibles.
There was once a Tibetan friend who was deceived and bruised, and later bought this book only to realize that those so-called auction acquisition companies are simply nothing, but only after reading this book did he know how to realize the collection. In short, this book can allow you to take fewer detours, ** only a few dozen dollars, which is better than you being fooled for hundreds of thousands of dollars.
If it doesn't work, feel free to comment and find me. It is because of these profound lessons that I decided to write a book about these experiences, hoping to help more people not repeat my mistakes.
I titled my book "The Pitfalls and Truths of the Auction Market" in the hope of warning more inexperienced Tibetans like me.
The original intention to write this book came from my own experience. When I first got involved in the world of antique collecting, I didn't know anything about the market and **.
I only knew that antique collecting was a high-yield investment, so I invested a lot of money in all kinds of antiques.
However, as time went on, I started to feel that something wasn't right. In the process of trading again and again, I found that I had repeatedly suffered losses, and the antique collectibles I bought did not have the appreciation space I imagined. Eventually, I realized how complex the antiques collecting market is, and how many tricks are involved.
Through exchanges and experience with other collectors, I gradually realized that antique collecting is not only an investment, but also an art and knowledge.
Based on my own experience, I have divided the book into several parts, namely the current situation of the antique collecting market, common scams and how to distinguish the authenticity, and how to properly collect antiques. I hope that through this book, more people can understand the truth of the antique collecting market and no longer be easily deceived.
In the first part of the book, I gave a detailed account of the current state of the antique collecting market.
Nowadays, the antique collecting market has become a huge industry. From antique auctions to antique collection exhibitions, every place is the focus of attention for collectors. However, at the same time, there is a plethora of ** and fraud in the market.
Many auction companies take advantage of the greed of collectors and deliberately speculate on worthless antiques to make them shoddy, so as to obtain high profits. For ordinary Tibetans, they often lack sufficient professional knowledge to distinguish between the real and the fake, so they are easily deceived.
In the second part of the book, I listed some common scams and gave solutions to them. For example, in the antique collection market, common scams include counterfeiting, false publicity, and hype. Based on my own experience, I have put forward some tips and suggestions for identifying these deceptions.
For example, when buying antiques, you must pay more attention, do not be confused by the flashy packaging and exaggerated publicity, and communicate more with other Tibetan friends to expand your knowledge and better distinguish the authenticity.
The last part is about how to properly collect antiques. In this part, I have detailed the basics and do's and don'ts of antique collecting.
For example, when buying antiques, you must find a regular auction company or merchant, learn more about the story behind the antique and its historical value, do not blindly pursue short-term interests, and establish a correct concept of collection. At the same time, I also gave some of my personal experiences and lessons in the book, hoping to help more Tibetan friends.
Writing this book was a brand new attempt for me. I chose to write a book about my experiences because I am acutely aware of the complexities and uncertainties of the antiques collecting market. I hope that through this book, I can help more people not to repeat my mistakes.
In this book, I have given as much of a comprehensive introduction and analysis of the antique collecting market as possible, hoping to give readers something to gain.
Antiques