WOODBURYHOUSE

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4. ART IN OUR TIMES 10. ART COLLECTING AND YOU13. STREET ART17. ABOUT WOODBURY HOUSE20. MAKING AN INFORMED CHOICE22. THE ART MARKET AND ITS FINANCIAL IMPACT25. HOW WE WORK

Digital and computer technology may have revolutionised how some artists actually produce their work but, alongside television, it is by creating a huge increase in public awareness that they have had most effect on the art market. Landmark television series such as Kenneth Clarke’s Civilisation, The South Bank Show and their many successors have played a role in the democratisation of art. Living and active artists in the UK, such as the newly knighted Anthony Gormley, Banksy as well as former enfants terribles, Damien Hurst and Tracey Emin, have benefited from our celebrity culture and achieved fame and fortune beyond their wildest expectations. The in-ternet has played a significant role in globalisation, and the success of the new economies of Asia and South America have also fuelled additional demand for fine art. All this means that the potential for an artist achieving general recognition in his or her lifetime is so much greater now. And, along with this comes the greater potential for a swift uplift in the value of well-chosen pieces. Also, with its particular appeal to the more affluent, the art sector has not been material-ly affected by normal economic cycles. The skilled or well-informed buyer who buys the right item at the right price at the right time can benefit from dramatically improving value. Add to this the pleasure of ownership and art can be especially rewarding.

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Your own art collection can bring pleasure, pride of ownership and be a valid store of wealth. Woodbury House Contemporary Art is a vital part of a dynamic art market making owning fine art more accessi-ble than ever. Archaeologists date the earliest cave paintings back over 40,000 years. Even the earliest pottery found, dating back some 20,000 years, is decorated and beyond the purely functional. And so the urge to create images of our surroundings and our thoughts is basic. The Egyptians, ancient Greeks and Romans valued art highly. Indeed, throughout history, art has bestowed on its owners a status and been part of a gracious lifestyle. This is certainly no less true today. The long course of art from the earliest civilisations, through mediaeval times, the Renaissance, the Impressionists, the Post im-pressionists, Cubists, Surrealists, Abstract, and Pop Art and more recent contemporary movements encompasses so many styles. In the great museums and galleries of the world, fine works of all pe-riods and schools attract growing interest. This interest is growing because the modern media of radio, television and the internet have raised the profile of all art and particularly the contemporary. But few artists - even the greatest - were fortunate enough to have reaped the rewards of their own work. The tremendous uplift in the value of works by artists, whether known to the general public or only to experts and collectors, has tended to have been posthumous, serv-ing only to benefit others. In the nineteenth century, as the direct patronage of artists by nobility waned, a gallery system became the link giving artists exposure to the wealthy, successful and educated.

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The Street Art movement perfectly exemplifies how the anti-estab-lishment can be absorbed into the mainstream – how works initially considered tantamount to vandalism can really become worth mil-lions. Graffiti provides robust evidence of our desire to create images of our surroundings and thoughts. From pre-history through to today, its apparent informality has done nothing to reduce its impact, gravity or humour. In the post-war era, Rock & Roll then Hippy culture, Rock and the Punk movement all demonstrated rapid generational shifts and provided outlets for a significant portion of the population who felt somewhat at odds with their elders who were the establishment, who ran the corporations and held political and economic power. In the US, Vietnam too was a powerful cause and demonstration of this divide. Andy Warhol’s Pop Art had, to a considerable extent, democ-ratised art by incorporating familiar items such as soup cans and images of iconic Hollywood stars into his work, achieving notable success and recognition. As the 1970s moved onwards, a group of young artists sought further democratisation by creating a fusion of graffiti and art. From an assortment of backgrounds, they combined to make large powerful images to impact on the everyday lives of the public. These contained strong social and political overtones. The artists were, almost literally, armed with the relatively new technology of aerosol spray paint which enabled large areas to be covered effec-tively and quickly... before authority could intervene and interrupt the work. New York was initially a major hub of this activity.

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The leaders and founders of this movement were actually well-schooled and talented artists. Of the unholy trinity of Richard Ham-bleton, Keith Haring and Jean-Michel Basquiat, the first two were art graduates. They and their followers all adopted distinctive individual styles and deliberately recurrent images to give their work a readily identifiable persona. Richard Hambleton’s early works of the 70s rec-reated a crime-scene using a chalk outline representation of the de-ceased, while splashes of red paint rapidly completed an unsettling image. In the 80s, he focused on a recurrent theme of a shadow man - a sketchy monochromatic image - which appeared on hundreds of buildings. Jean-Michel Basquiat’s early street work produced in the 1970s was initially a collaboration with others with the tag SAMO - as in ‘same old shit’’ - and it focused more on graffiti-like images con-taining text, sometimes with complex and subtle references. Perhaps because of his exotic background and photogenic appearance, he was welcomed by the media and made many appearances in TV art show interviews. Later, when he became close to Andy Warhol, he became even more high-profile. His work shifted from the streets to a more conventional canvas and he became integral to the Gallery scene. His health, fragile as a result of severe internal injuries sus-tained in a road accident when he was around 8 years old, could not withstand a demanding lifestyle coupled with heroin addiction and he died aged just 27. Keith Haring’s more pictorial work was nota-bly influenced by pop-art. Images were often on social and political themes focusing increasingly on the AIDS epidemic which coincided with the Street Art movement and which consumed him when just 31.Of the three, only Hambleton survives. Considered the Godfather of Street Art, he has undergone something of a renaissance in the last decade or so, emerging from obscurity to produce work meeting crit-ical approbation. As he approaches his sixtieth birthday, even if his health is as frail as has been reported, he continues to be active and his work is in demand in the major art capitals of the world.

Street Art is a multifaceted paradox. A movement started largely by the disaffected injected contemporary art with a renewed, magnet-ic political consciousness and found early public favour. The move-ment’s early major protagonists felt an antipathy to the establishment and, in their reluctance to be exploited by it, adopted a rather savvy approach which, in effect, made them part of it. They harnessed the power of the media and found ways to market themselves and their work for handsome financial rewards. Works by known artists have experienced huge uplift in value. In the early 1980’s Ed Koch, then Mayor of New York, announced a $6.5 million campaign to fight graf-fiti. This involved watchmen with guard dogs, special graffiti-proof paints and trains from France. How ironic that, roll on thirty years or so and, a Jean Michel Basquiat work was sold in 2013 for $29 million – surely enough to buy several trains! When it came to moving the best art off the sides of trains, the contemporary art market has been far more efficient than any guard dog!

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ABOUTWOODBURY HOUSE

Woodbury House is newly established, with a fresh approach which integrates knowledge and expertise acquired over many years. We offer a wide range of fine pieces created by artists from differing backgrounds working in varied media and styles. Our artists range from those on the cusp of recognition to the established.

Woodbury House Contemporary Art is available only through careful-ly selected brokers who are ready to discuss resources and aspira-tions and work with you to find out what particularly appeals. Our aim is to establish a successful long-term relationship.

Woodbury House is a focal point of an intricate network of artists, galleries, museums, collectors and dealers which offers extensive in-depth knowledge and experience. This enables us to offer what is genuinely a unique range of works of fine contemporary art at most advantageous prices.

Woodbury House is set up to provide services to both corporate and private clients. Aside of sales, Woodbury House can provide displays for corporate and private events.

With Woodbury House there are no leaps into the dark. Data con-cerning artists, their work and pieces can be analysed to help us present select opportunities and fair information on each item en-abling clients to make a more informed choice.

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MAKING AN INFORMED CHOICE. Out of all the different types of art, the different periods, the many schools and the myriads of artist who have had that creative urge to put paint on canvas, mould clay, chisel stone, how is any kind of choice to be made? There are so many factors – interest, taste, means, aspiration, value, affordabil-ity and availability, to mention just a few. In the history of all arts, sculpture, painting, pottery, music, literature, theatre and cinema, some great artists have followed on from their predecessors devel-oping their approach and techniques. Others have broken ranks with tradition and attracted such interest as to create a new direction or movement. In the last half of the nineteenth century, the early im-pressionists caused consternation within the French art establish-ment. An eminent critic of the time deemed Claude Monet’s Sunrise an “unfinished work”. Today it is estimated that this same unfinished work would achieve £25 million at auction. A similar reception met the cubist works of Picasso and others around 1910 and yet Picasso’s paintings are amongst the most valuable and it is thought he has the perhaps dubious honour of having more of his paintings stolen than any other artist. Aside of all the factors in making a choice, the status of the particular artist has an enormous effect on the prospects for a work’s value. How well-known is the artist now? Living or dead? A pivotal figure in a particular art movement or school? And so on. This is where WHCA comes into its own – using its network of con-tacts with museums, collectors, galleries and artists themselves to help with information and providing a range of works offering quality and value. Woodbury House brings opportunities for clients to derive pleasure from owning fine pieces of art along with their associated financial benefits.

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There is much pleasure in owning an original work of art. It can be stimulating and reassuring. It can influence the atmosphere of a room and be a conversation piece. If, at the same time, it can ap-preciate in value, this is more than a bonus. Art has the ability to make great strides in value. The art market attracts high net worth individuals from all parts of the world. The success of the major auc-tion houses is largely attributable to their ability to bring desirable art before a discerning and affluent clientele and create the right aura and mystique to optimise demand for their wares. To a considerable extent, this clientele is far less sensitive to economic conditions than normal financial markets. The chart below is evidence of this. As the art market is such a high value industry, prices are well tracked and a range of indices prepared to reflect price trends of different kinds of art. The “artnet contemporary 50TM” combines performance data from 50 leading contemporary artists whose works best represent the Contemporary Art auction market.

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PROCEDUREOur sales procedure is transparent, straightforward and safe.Our selected agents have trained personnel who will discuss your requirements and advance suitable works for your consideration. You will be sent high quality images of works. Whether your require-ment is corporate or private, once you have made a selection, we will supply account opening documents and we also have to carry out legally-imposed procedures including anti-money laundering checks (AML) as well as know your customer (KYC) documentation. On re-ceipt of funds, we will provide a Certificate of Authenticity from the gallery or, where practicable, from the actual artist. Funds are held in escrow until you receive appropriate documentation certification.

OPTIONS FOR SAFEKEEPINGThe actual works of art Woodbury House offers are safely in store in a dedicated bonded warehouse in Switzerland. You can choose to have your purchased work continue to be held there - for an annual fee - secure, insured and under ideal climatic conditions with confir-mation documentation provided. Alternatively, delivery to a UK ad-dress can be arranged, usually within 30 days. This involves freight charges and Government import tax.

RISK, PRICE AND LIQUIDITY

• Any prices of works of art Woodbury House (we) may offer, shown are indicative only and may be based on exchange rates current at the time of writing. Prices of these can go down as well as up. Past performance is no indicator as to future performance. Prices and values can be difficult to determine and may vary from reseller to reseller. These works of art are not sold as an investment.

• For reference, works of art may be illiquid and there may be a big differ-ence between their buying and selling prices. Any trading in these prod-ucts involves risk. You may get back less than your total outlay and in extreme cases make no recovery. However, you may also benefit from any possible increase in their value. Any growth shown or suggested is a projection only and cannot be guaranteed.

PURPOSE OF AND RELIANCE ON WOODBURY HOUSE ONLINE AND PRINTED MATERIAL

• Whist efforts have been made to ensure that the data and other infor-mation in Woodbury House literature are accurate, no warranty as such can be given and, additionally, information applicable to the markets for the products we offer is subject to change.

• The purpose of this document is solely to provide introductory informa-tion and some background to the specific topic. It is not intended for use directly or indirectly in market forecasting or for making decisions.

•Woodbury House and/or its directors, agents or employees accept no responsibility or liability for any losses or damages incurred as a result of use of this report. The content of this document and other Woodbury House promotional material, printed and electronic, should not be con-strued as Woodbury House making an offer to sell, or an invitation to subscribe for or invest in Woodbury House.

• No representation or warranty, expressed or implied, is or will be made as to the accuracy or completeness of the information including all pro-jections or opinions contained in the text and no liability is accepted by Woodbury House and/or its directors, agents or employees.

By accepting delivery of the content the recipient agrees not to reproduce and/or distribute this whole or in part.

REGULATORY STATUS AND THE NEED FOR CLIENTS’ CONSULTA-TION WITH THIRD PARTY ADVISERS

• In Woodbury House documentation there is no information specific to recipients’ personal circumstances and it is recommended that you con-sult your own advisers and consider for yourself the financial, legal and other consequences before making any purchase.

• Woodbury House is not regulated by the Financial Conduct Authority and recipients are reminded of the risk factors described in our Terms of

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WOODBURYHOUSE81-82 Crawford Street,

London, W1H 2HAWWW.WOODBURYHOUSEART.COM