圖為此次蘇富比拍賣冠軍Diego Rivera的作品Niña con Rebozo (1935)
困于市場衰退的流沙中，拍賣行估價縮水并不可避免的需要作出市場調(diào)整。這些敏感并縮水的了價格的形成精確的地反映了市場狀態(tài)，并將最終催化市場的恢復。然而在這一直接的努力中，市場的每一個環(huán)節(jié)都服從于新的觀察和透明性，從而揭示市場變化的跡象，這些跡象對有些人來說是可能好消息，對于另一些人卻有可能是噩耗。
而拉美藝術(shù)市場正處于這種仔細的觀察狀態(tài)之中。紐約拉美藝術(shù)品拍賣于上周三由蘇富比首先開始，此次夜場拍賣共收入674萬美元，未達到預計值750萬—1010萬。56件拍品中的42件找到了買家，拍品賣出率75\\\\\\\\%，價值率66\\\\\\\\%。第二天晚上，佳士得在其夜場拍賣中收入1110多萬美元，因微小的差距而未達到拍前預估的1120萬—1680萬美元。63件拍品中的43件找到了買家，拍品賣出率68\\\\\\\\%，價值率77\\\\\\\\%。
這些數(shù)字都不顯眼，但拋開這些微弱的總額，我們?nèi)钥梢詮倪@兩場拍賣中看到希望。六位藝術(shù)家在蘇富比拍夜場中創(chuàng)造了拍賣紀錄，其中Édouard-Henri-Théophile Pingret的Procesión de la Virgen以27.85萬美元賣給了一為墨西哥收藏家，它的原先估價為150—20萬美元。
同時，蘇富比此次拍賣的冠軍為Diego Rivera，他的畫作Niña con Rebozo (1935)突破了其最高估價350—45萬美元，達到79.45萬美元。他的這副作品描繪了一個披著長披肩女孩，這是藝術(shù)家一生所探索的主題。
這次拍賣的總額因為墨西哥超現(xiàn)實主義藝術(shù)家Leonora Carrington估價在120萬——160萬的作品Chiki, ton pays (1944)未被賣出而暗淡無光。而這一作品在2002倫敦蘇富比拍賣中以將近60萬美元的價格賣出。
但是，這一一場拍賣的低總額仍然具有一定的欺騙性，在其賣出的56件拍品中，有一半以上以超出其最高估價的價格賣出，證明了競拍者對藝術(shù)品質(zhì)量的追求。
周四佳士得的夜場拍賣因拉美現(xiàn)代主義的成功而成功。拍前估價最高的三間拍品都屬于現(xiàn)代主義范疇，這三件拍品都找到了買家。Mario Carreño的作品Fuego en el batey (1943)創(chuàng)下了本場最高價，達到218.81萬美元，其之前估價為100—200萬美元。這一古巴現(xiàn)代主義作品曾被收藏于紐約達半個多世紀之久，因此對于市場來說是非常新鮮的。
但不得不承認的是，兩場拍賣會的結(jié)果跟去年五月份的好成績比起來還是相差甚遠。蘇富比此次收入連去年的三分之一都不到，而佳士得此次收入也只是去年的41.3\\\\\\\\%。
但是同去年11月的拉美拍賣會相比，兩家拍賣行在拍賣品拍出率和價值率方面都有進步。拍出率方面，蘇富比今年75\\\\\\\\%，去年57\\\\\\\\%，佳士得今年68\\\\\\\\%，去年65\\\\\\\\%；價值率方面，蘇富比今年66\\\\\\\\%。去年65\\\\\\\\%，佳士得今年77\\\\\\\\%，去年45\\\\\\\\%。
“我覺得這兩場拍賣反映了真實的市場情況，”如今是藝術(shù)商人的前蘇富比拉美部總監(jiān)Isabella Hutchinson說道，“買家根據(jù)藝術(shù)品的價值作出反應，質(zhì)量好的藝術(shù)品總是賣得很好，這兩場拍賣會也不例外。”
通過將高質(zhì)量藝術(shù)品和務實價格相結(jié)合，蘇富比和佳士得開啟了拉美藝術(shù)品市場的恢復進程。
（來源：ARTINFO網(wǎng)站，點擊閱讀原文）
【編輯：Julia】
Latin American Sales See a Corrección
By Adam Green
NEW YORK—Stuck in the quicksand of the art market downturn, auction houses are shrinking estimates and consequently embracing the inevitable market correction. The establishment of these more sensible, curtailed price levels accurately reflects the state of the market and will ultimately catalyze the recovery process. However, during this forthright effort, each market segment is also subject to new scrutiny and transparency, revealing promising signs for some and bleaker prospects for others.
The Latin American art market is somewhere in the middle of this spectrum. New York’s Latin American sales kicked off on Wednesday of this week at Sotheby’s, with an evening sale that earned $6,740,000, missing the pre-sale estimate of $7.5-10.1 million. Forty-two of the 56 works found buyers, for sold rates of 75 percent by lot and 66 percent by value. The next night, Christie’s respective sale brought in $11,004,350, falling just shy of its pre-sale estimate of $11.2–16.8 million. Forty-three of the 63 lots were bought for sold rates of 68 percent by lot and 77 percent by value.
The numbers aren’t great, but despite the meager totals, there are positives to be taken away from both sales. At Sotheby’s, six artists set auction records, led by Édouard-Henri-Théophile Pingret’s Procesión de la Virgen, which sold for $278,500 (est. $150–200,000) to a Mexican collector.
Meanwhile, honors for the top-selling lot at Sotheby’s belonged to Diego Rivera, whose Niña con Rebozo (1935) smashed its upper estimate, achieving $794,500 (est. $350–450,000). The work portrays a child, a motif Rivera explored throughout his career, wrapped in a full-length shawl.
The sale’s overall numbers were considerably tarnished, however, by the failure of the top-estimated lot, Mexican-based Surrealist painter Leonora Carrington’s Chiki, ton pays (1944) (est. $1.2–1.6 million), to sell. Desperately waiting on a wavering telephone bidder, auctioneer August Uribe reluctantly asked the salesman, “Sí o no?” The answer was no. The work had previously sold at Sotheby’s London in 2002 for $595,338.
But still, the evening’s low overall sales numbers are a bit deceiving. Half of the 56 lots earned prices in excess of their high estimate, proving that although bidders are sitting out some lots, there is still strong demand for quality.
Christie’s evening sale on Thursday, meanwhile, was bolstered by the success of Latin American modernism: The three top-estimated lots all belong to this category, and all found buyers. Mario Carreño’s Fuego en el batey (1943) set the pace, selling for $2,188,100 (est. $1–2 million) and earning the evening’s top sum. The Cuban modernist masterpiece was extremely fresh to the market, having been in the Ward Collection in Baldwin, New York, for more than half a century.
Five artists featured in the sale recorded record prices, most notably Leonora Carrington, who just an evening earlier was showcased as the top lot artist in Sotheby’s sale. Although that work was bought in, she redeemed herself at Christie’s when her piece The Giantess (also known as The Guardian of the Egg) (circa 1947) sold for $1,482,500 (est. $800,000–1.2 million), more than doubling her previous auction high. It was the first time Carrington had surpassed the $1 million mark. After the sale, Virgilio Garza, head of Latin American art at Christie’s, called the record price “long overdue recognition” for the artist, now 92.
Of course, both sales results are painfully small compared with the glory days of last May. Sotheby’s earned less than a third of its 2008 sum of $21.1 million (though with 56 lots, versus last year’s 77). And Christie’s auction brought in just 41.3 percent of its previous $26.6 million total (with 63 lots, compared with last year's 80).
Compared with last November’s Latin American sales, though, both houses did better in terms of both sales rate by lot (Sotheby’s: 75 versus 57 percent; Christie’s: 68 versus 65 percent) and value (Sotheby’s: 66 versus 65 percent; Christie’s: 77 versus 45 percent).
“I think that the auctions reflect a solid market,” Latin American art dealer Isabella Hutchinson, former director of Sotheby’s Latin American department, told ARTINFO. “The buyers respond to what is offered for sale … quality works always sell well, and that has been the case in these sales.” Coupling quality artworks with pragmatic price levels, both houses have officially kicked off the Latin American art market recovery process.
（來源：ARTINFO網(wǎng)站，點擊閱讀譯文）
【編輯：Julia】
