Artemundi Global Fund's Javier Lumbreras' book: The Art of Collecting Art is now on sale at our store! Available in both English & Spanish.
a diversified art investment private equity fund
Clearly, the economic malaise now facing much of the world has changed the way the game is played. Art, like gold, is an asset of limited supply that also is portable and requires low maintenance, which makes it unlike real estate. Moreover, art is a valuable asset class investment instrument because it has a low correlation with other types of investments and inflation, thus reducing overall risk. While stocks can suffer double-digit losses in one day, the art market exhibits far more stability due to the limited supply of fine works of art and the emotional attachment they have on their beholders.
For more informations please visit:
http://www.artemundiglobalfund.com
ultra high net worth individuals management accounts
Artemundi Private offers an alternative to wealth managers and investors: a personalized approach to art investing, as a mid term closed end fund does not suit everyone's needs. With this in mind, we are now able to provide you with a vehicle to take advantage of Artemundi Global Fund's methodology, strategy, platform and expertise in an art investment portfolio that is specifically tailored to an individual's investment goals.
For more informations please visit:
http://www.artemundiglobalfund.com/UHNWIs
art trusts and foundations
Some of the most illustrious personal histories are often burnished by the legacies handed down, legacies intended to enrich future generations. Some visionaries have made history not merely for their business accomplishments, but also for their philanthropic pursuits. There are many prominent examples of this throughout history, ranging from the medieval Medicis to 19th and 20th century giants bearing the names Mellon, Frick, Phillips, Guggenheim, Huntington, J.P. Morgan and Tyssen.
For more informations please visit:
http://www.artemundiglobalfund.com/trusts/
differentiate between "good" and "bad" art
Art plays a fundamental role in the history of mankind. For centuries, art was the exclusive domain of society's elite; in this day and age, anyone with the desire and the resources may invest in an art collection that speaks to their aesthetic sense. Art collectors are dedicated, educated and sophisticated people who have distinguished themselves in their careers and wish to devote a portion of their energies to culturally, and intellectually, rewarding pursuits.
For more informations please visit:
http://www.artemundipartners.com
Javier Lumbreras, CEO of Artemundi Global Fund, will be the main presenter & speaker at the Club de Industriales in Polanco, Mexico City on March 29th, 2012. This cocktail conference is sponsored by BANORTE and IXE banks for their HNWI clients whom have a passion for collecting art. We will post the presentation videos when available!
You can see the rest of the panel at: Deloitte’s Art & Finance website.
This conference was held during Art Basel Miami Beach 2011, where Javier Lumbreras was invited to speak on a panel called: Emerging markets collectors services needs:
China, India, South America and the Middle East are reshaping collectors’ perceptions and creating new collecting opportunities. What type of services are they looking at?
In response to:
Are Art Funds the Right Way to Invest in Art?
In Zac Bissonnette’s article for CNBC quotes Richard Polsky where he comments on art fund viability:
“I give it a thumbs down,” he says. “It never has worked. There’s a history of this stuff. The closest it ever came to working was the British Rail Pension Fund. They did everything right: bought the right material and timed it right. And still, they would have been better in the S&P 500.”
The British Rail Pension Fund is held as a proof of concept throughout the art finance world, but to say it executed on everything perfectly is a stretch. They enjoyed great success in economic terms through their Impressionist & Old Masters paintings, for example, Renoir’s The Promenade, acquired in November 1976 for 692,000 dollars, sold in April 1989 for 17.5 million. The BRPF achieved the goals as established by its collective stockholders, but there were aspects of inefficiency.
The fund bought exclusively through auction houses, in this case Sotheby’s, and that lead them to overpay for works. Also the majority of the returns came from just a few categories, and while diversification in a fund’s portfolio is important, over diversification is detrimental. This fund went into decorative art objects, graphic works, and African tribal art to antique paintings which all had low returns. Greater results would have been easily achieved if the fund had concentrated on a smaller collection of better-chosen pieces, privately acquired. With a smaller collection, other steps could have been taken such as loaning the works to museums would reduce maintenance and insurance expenses.
Jeremy Eckstein, General Co-Director at Lyons & Hannover, LLC, of London, and the British Rail Pension Fund manager during the 1980s confessed to Javier Lumbreras, CEO of Artemundi Global Fund, on the notable lack of balance of the portfolio. Since there were rigid guidelines set for using the pension’s capital, there was not much flexibility to be had. Proof lies in that a mere fifty pieces produced the best results, equivalent to one-third of the fund’s total value. The only fund objective was to buy artworks as an investment. We are convinced that with a less political and corporate—and more personal and professional—approach, the results would have unquestionably been enhanced.
Artemundi Global Fund has the pleasure of presenting three of it’s paintings for the Los Angeles County Museum of Art’s (LACMA) exhibition- In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States. The exhibition will be ongoing from January 29, 2012 to May 6, 2012 at the Resnick Pavilion. For more information on the exhibition, please click on the link above. Here is a quick excerpt from the site:
Opening to the public this Sunday—and to members starting today—In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States features approximately one hundred and seventy-five works by nearly fifty women artists active in North America who engaged with surrealism in their art. It is the first exhibition to present a view of surrealist art based on this body of work and to depart from canonical histories of surrealism that privilege its male practitioners and European origins…
AGF’s CEO Javier Lumbreras to give a talk at the Heckerling Institute Conference about his experience as a leading art fund manager and his other work including building trusts and foundations for organizations and UHNWIs. For the full summary please click here .
Javier Lumbreras’s The Art of Collecting Art is an invitation to the art world, as a way of building savor-faire. This book is unlike many on the topic of art collecting, which generally are written in an incomprehensible, ethereal language, as is so common in the realm of art criticism, in an effort to exude an air of lavish intellectualism in a discourse that, in reality, lacks content. Instead, this book is founded simply on the union of passion, knowledge and faith in the arts. The language employed by Javier Lumbreras rejects the use of linguistic posturing, which tries to persuade readers that talking about art requires some form of elevated rhetoric. On the contrary, the language is friendly and inviting, revealing the passion – and the discipline – that comes with the trade. Unencumbered by technical excesses, the text does not weigh down the reader with terminology borrowed from a multitude of fields, but fulfills the objective of the true critic: to become the mediator between the world of artistic creation and the world of those who wish to experience art and art collecting.
The Art of Collecting Art is, in reality, a conversation with a devout art collector, with a connoisseur who has traversed all realms of the art collecting world: galleries, art shows, auctions, donations, museums, artists, movements, collectors, preservation techniques, packaging and transporting. Within these pages, Javier Lumbreras places emphasis on educating our senses, since this is the only way art can be understood on a deeper level. Art collecting thus, begins with the basic pleasure that the observer feels; accordingly, the collector must begin by strengthening his emotional connection with the work of art in question. And it is through these mean that Lumbreras passes on to us his passion for art, and that extra dimension that enriches our lives.
Also available in a deluxe limited edition which comes with a protective box case.
Untitled, 1967 – 1974
AGF is proud to announce the purchase of a de Kooning oil painting from Edward Tyler Nahem Fine Art NY. De Kooning is being featured in a splendid retrospective exhibition at the MoMA. The first major museum exhibition devoted to the full scope of the career of Willem de Kooning, widely considered to be among the most important artists of the 20th century.
Interest in Artemundi Global Fund has been growing steadily through our Chinese Relationship office, so we have expanded the languages that AGF is available in. Look out for more languages in the upcoming weeks!
You can visit the Chinese site by clicking here.
Our CEO, Javier Lumbreras, will be speaking at Deloitte’s 4th Art & Finance Conference December 2nd, 2011 during Art Basel Miami Beach.
Topic:
Emerging markets collectors services needs
China, India, South America and the Middle East are reshaping collectors’ perceptions and creating new collecting opportunities. What type of services are they looking at?
You can browse the the full conference program here.
Artemundi Global Fund CEO, Javier Lumbreras returns to the ArtTactic podcast:
In this edition of the ArtTactic Podcast, Javier Lumbreras, Founder and CEO of the art investment fund Artemundi Global Fund, returns to the podcast to update us on his art fund. In addition to a fund update, Javier discusses some significant changes in their allocation of funds to different art market segments based on the state of the art market. Then, he provides his thoughts on the extent to which the art market will be impacted by this weakening economy. Finally, Javier elaborates on the presence of substantial transaction costs within the art market and why he believes such fees will decline in the future.
Copyright © 2011 Artemundi Group
