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Art Market & Nahmad Family
Art Market & Nahmad Family
Art Market & Nahmad Family
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How the Nahmad family made billions trading art, and why so many people in
the art world cant stand them.
+40,550 views
Outside the art world the Nahmads are scarcely known. Within it they are
admired and feared, and viewed variously as powerful, greedy and sharpelbowed. Yet, over 45 years theyve become influential megadealers of modern
and impressionist works by a stable of well-known names, from Monet and
Matisse to Renoir and Rothko. Christopher Burge, honorary chairman of
Christies New York, says: The Nahmads have sold more works of art than
anybody alive. If you exclude auctioneers, that statement is probably true.
In his day job David Nahmad is a risk-taker, trading millions of dollars in
currencies and commodities, as well as betting hundreds of thousands on
backgammon in Monte Carlohe holds the 1996 world title. But when it
comes to art, hes a Vanguard mutual fund. I like to buy value, says
Nahmad. He eschews contemporary showmen like Jeff Koons and Richard
Prince, whose work he dismisses as overvalued luxury products. He prefers
artists who make art history, focusing on pieces created at crucial
momentsfor instance a Monet from 1873, a turning point for impressionism,
or a Mir from 1924, an important date for surrealism.
Monet and Picasso are like Microsoft and Coca-Cola , he says. We know the
return is less big than on contemporary painting, but at least its more
secure.
The other piece of his strategy: Buy and hold. Most dealers keep their stock of
artwork lean, unable to afford to hold more than a few dozen paintings at a
time before they sell them. By contrast the Nahmads, sons and grandsons of a
prosperous banker from Aleppo, Syria, sit on a literal warehouse of art. Their
treasures take up 15,000 square feet of a duty-free building next to the airport
in Geneva. Whats inside? Its a secret, says David Nahmad. But three
sources in a position to know say the warehouse contains between 4,500 and
5,000 works of art, worth somewhere between $3 billion and $4 billion. The
Nahmads holdings include 300 Picassos, worth some $900 million. If that
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In this business, ownership of the work is key, explains a New York dealer.
If youre just brokering the work, you can only mark it up a certain amount.
The Nahmads set their own prices, and they decide when the time is right to
sell.
The only reason we sell is to fuel our ability to buy, says Davids son Helly,
29, who runs a gallery in the posh Carlyle Hotel on Madison Avenue. (Hellys
cousin, also named Helly Nahmad after their grandfather Hillel in the
Sephardic Jewish tradition, runs a gallery in London.) And while there is a
cost to holding that inventory, the familys currency business helps support
their art strategy. The Nahmads wont reveal the size of their currency
portfolio, but a source close to the family pegs its value at $1 billion.
The Nahmad art inventory is so sweeping that almost everyone who deals in
impressionist and modern work has crossed the familys path at some point.
Some say the experience has been less than genteel. The main gripes: The
Nahmads change the terms of deals at the last minute and are slow to pay.
One dealer who has done a number of transactions with the family recounts a
time when Davids London nephew changed the price of a painting after the
two had agreed on a number. They dont stick to their word, and they dont
stick to their deals, he says.
Its extraordinarily difficult to extract money from them, says another
prominent dealer, who, like others, wont allow his name to be used for fear of
getting on the Nahmads bad side.
Nonsense, says David: Once we strike a deal, we honor a deal. Says nephew
Helly, about changing the agreed-upon price: Ive never done that in my life.
The Nahmads style is also messier, and louder, than more sedate types in the
art world would prefer. They have screaming fights in the gallery, says a
source who has been close to the family for a long time. In the auction room,
where they come out in force, bringing along wives and children who
sometimes disrupt proceedings, the Nahmads argue with each other even
while they are bidding.
Their size gives them leverage to negotiate special terms. For example, the
standard payment period for a work bought at auction runs 30 days. But on
occasion the Nahmads would lay out, say, 10% of what they owed. For the
balance, they would pledge to consign paintings for the next sale six months
later, promising the auction house it could draw the money owed when those
paintings sold. The Nahmads have sometimes carried a debt of as much as
$20 million at a single house.
Every so often a new financial guy would come in and say, Whats with these
people? Why arent they paying? recalls a former employee of an auction
house. But most of the cards were in their hands. Davids son Helly insists
those special arrangements are in the past. Weve got a tremendous amount
of cash, he insists. Weve sold more than weve purchased.
Unlike most other dealers, the Nahmads buy and sell much of their inventory
through auction houses. So auction house staffers do the work of verifying
authenticity. And if a buyer needs hand-holding and consultations with
decorators, spouses and art advisers, it will be another dealer who will do the
work.
The Nahmads also use auctions to support the price of work they own. In
London in October, for instance, they spent $3 million at Sothebys and
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Fontanas, driving prices up. Its called defending your inventory, explains
Davids son Helly. We have 100 Fontanas in Switzerland, so if you pay a lot
of money for one at auction, in theory, it makes the other 100 worth more
money.
In the end the auction houses might need the Nahmads more than the
Nahmads need them. During deep art slumps in the early 1970s and early
1990s the Nahmads acquired art in bulk. In a Kandinsky auction at Sotheby
Parke Bernet in 1971 the Nahmads bought half of the paintings. Observes New
York dealer Jeffrey Deitch: They are like a major brokerage firm in the stock
market; the market needs a force like this to function.
Its this kind of talk, treating art as if it were an oil future, that makes purists
in the art world cringe. Dealers like Daniel-Henry Kahnweiler in Paris used
his livelihood to champion the early cubists and to showcase Picasso. The
Nahmads (who say they bought more than 200 Picassos from Kahnweilers
gallery) operate as secondary-market merchants rather than supporters of the
arts. There are dealers who present artwork as great human creations, on
galleries with red velvet walls, notes one prominent New York dealer. The
Nahmads sell their art from a concrete room in Geneva.
The instigator of the familys art passion is Giuseppe Nahmad, Davids
75-year-old brother. In the 1950s and 1960s Giuseppe, known as Joe, was
living a lavish lifestyle of Ferraris, Rolls-Royces and glamorous companions,
including Rita Hayworth, according to David. (In 1948 the family left Syria for
Beirut where they already had a home; they moved to Milan in 1960.) Friends
nicknamed Joe Farouk, after the extravagant Egyptian king. Joe decorated
his apartments in Rome, Milan, Portofino and London with art hed
purchased, including works by Magritte, Lger and Dal. Eccentric and
acquisitive, Joe is a hoarder, says his 31-year-old London nephew Helly: If
Uncle Joe bought a suitcase, he didnt buy just one suitcase; he bought 20.
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Joe paid for his pleasures with his financial trades, but in 1963 his bets turned
south and he found himself short of cash. So he had his younger brothers Ezra
and David, then teenagers, hawk some of his paintings. (In a second
conversation David changes this story, insisting the motivation to sell was
demand by dealers hot for Joes artwork.) In any case, Milan was host to a
burgeoning art scene, and the brothers found plenty of buyers.
Fluent in French from their youth in Lebanon (the family still speak French
among themselves), David and Ezra started traveling to Paris where the art
market was quieter, picking up Picassos, Chagalls and Mirs on the cheap
and then returning to sell them for 50% and 100% gains in Milan. David says
he financed his buyers, allowing them to pay, say, $5,000 a month for a
$60,000 painting. David would take out a bank loan against the IOU and use
the cash to buy more artLike when you sell automobiles, he says.
Gregarious, engaging and comfortable in seven languages, David cultivated
relationships with the likes of dealer Kahnweiler and billionaire art collector
Baron Hans Heinrich Thyssen-Bornemisza, who bought works by Picasso,
Kandinsky and Italian futurist Giacomo Balla. Ezra, 18 months Davids senior,
often traveled with his brother, but a more introverted personality led him to
play a less public role.
In the 1970s the brothers expanded their travels, trading works among
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Joe is an absolute genius, says New York dealer David Nash, who used to
run the impressionist and modern paintings department at Sothebys. You
can call him at three in the morning and he will remember what price he paid
for a painting, what currency he used and what the exchange rate was at the
time.
When the speculative art boom hit Japan in the 1980s, the brothers pounced.
Mostly the Nahmads served as wholesalers to clients like the Fuji Television
Gallery in Tokyo. The Nahmads amassed so much cash selling to the Japanese
during the 1980s that when the art crash hit in 1989, they kept on buying, at
fire-sale prices, boosting their inventory.
Over the years, say friends and family, Joe Nahmad changed, from outgoing
and extravagant to reclusive. He has remained unmarried, living at various
times in Marbella, Paris and Monte Carlo, leaving it to his brothers and
brokers to execute trades. Though David insists Joe suffers from poor health
and has curtailed his involvement, a half-dozen sources who know the family
maintain that Joe remains in charge. Stories about him abound, many of
them underlining his aversion to paying for things. London art dealer Ivor
Braka recalls a breakfast at Les Deux Magots in Paris, where Joe consumed 14
croissants. When the waiter tallied the bill and asked Joe how many hed
eaten, Braka says Joe answered, Two or three. Joe never tips waiters, says
his London nephew Helly.
Joe Nahmad had his brushes with the law, according to a 1994 feature in
ArtNews, the only long story ever written about the family. Joe was arrested,
imprisoned and fined in Italy for possession of $70,000 worth of stolen
British pounds in 1957, the story says, and in 1961 the Italian revenue office
investigated him for failure to pay taxes on $92 million in stock market
trades.
Joe only gave FORBES a brief interview, to respond to the charges aired in
ArtNews. He unwittingly received the stolen currency in a business deal, he
maintains. He was questioned rather than detained, and he was eventually
acquitted of all charges. The Italian revenue investigation? Not true, he says.
There have been no allegations of legal improprieties in recent years, save for
a salacious sexual harassment complaint filed in 2005 by an employee of the
Helly Nahmad Gallery in Manhattan. Art Dealer in Kinky Sex Suit,
screamed a New York Post headline, Gallery Big Wanted 3-Way. The
Nahmads settled, and both sides agreed not to talk about the case.
Over the last decade, as the eldest sons of David and Ezra have grown up and
joined the family business, the Nahmads have raised their profile. Davids son
runs a sleek Manhattan gallery designed by architect Peter Marino, while his
cousin runs an elegant 6,000-square-foot space in Londons tony Mayfair
district.
Though the family is close, there are tensions. My son likes publicity a lot,
says David, frowning. I dont like publicity. David was pained when his
London nephew bought 50 paintings by British contemporary superstar
Damien Hirst, an artist whose astronomical prices David dismisses as
speculative. Ignoring his uncles opinion turned out to be good business. He
made 500% on his investment in the space of five years. A graduate of
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Not so Davids son, who dropped out of an art course at Christies in 1997. He
displays a brash, streetwise manner, frequenting hip nightclubs and hanging
out with celebrities like stuntman David Blaine and actor Johnny Depp. Im a
businessman, he maintains. I sell a lot of paintings to many collectors; the
last few years have been record-breaking for us.
Manhattan dealer Jack Tilton says hes done deals with the New York Helly
and is in negotiations with him about the familys stock of Monets. A lot of
this material is drying up, Tilton notes. There are very few sources.
The Nahmads are quite familiar with the law of supply and demand.
Summing up his familys philosophy, David Nahmad says: There is very little
art, compared to the amount of people who want to buy it.
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8/11/2014 11:33 AM
Christie's And Sotheby's Going For Their Biggest Auctions Ever As Art...
http://www.forbes.com/sites/afontevecchia/2012/11/13/christies-and-sot...
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Agustino Fontevecchia Forbes Staff
Bringing You The Bull And Bear Case From The Markets Desk
MARKETS
11/13/2012 @ 12:50PM
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Picasso's "Still Life with Tulips" was last week's star Sotheby's
Despite a marked slowdown this year after a booming 2011, both auction
houses are going all in, with their top estimates between $441 and $502
million, setting them up for their biggest nights ever or huge
disappointments. It appears that it will all come down to the quality of their
major pieces, which this year include works by Mark Rothko, Jackson
Pollock, Franz Kline, and the always entertaining Andy Warhol.
Last week was a disappointing one for the world of art. Both Impressionist
and Modern auctions came in well-below estimates. Christies went first,
seeing sales hit $205 million (estimates called for at least $250 million; even
the top three works, by revered names like Monet, Kandinsky, and Miro,
failed to top estimates. Sothebys did even worse, recording sales for $163
million (they expected at least $169 million), despite a solid showing for a
market favorite: Pablo Picasso.
While a 1905 Monet sold at Christies took the top spot for the week, selling
for $43.8 million, the Spanish superstar saw six of his nine works make more
than $81 million at Sothebys, or half of the total proceeds. The peak of the
night was 1932 work titled Still Life with Tulips sold by casino billionaire
Steve Wynn. With bidding by famed billionaire dealer David Nahmad, the
piece went for $41.5 million to an unidentified telephone bidder; still, the
work that hung behind the front desk of the Wynn Las Vegas was expected to
1 of 3
8/11/2014 11:30 AM
Christie's And Sotheby's Going For Their Biggest Auctions Ever As Art...
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example, is claiming this weeks is the strongest sale ever presented on the
market. They estimate sales should be between $309 and $441 million;
their most valuable auction was held this May, raking in $388 million.
Sothebys is going even higher, expecting to sell between $363 and $502
million. Its a bold bet: with a stagnant market, they could be setting
themselves up for a big disappointment.
This article is available online at: http://onforb.es/TB8Dwv
3 of 3
8/11/2014 11:30 AM
During The Big Art Auctions This Fall, Take A Second Look At The Res...
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10/18/2012 @ 9:40AM
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The beginning of the fall auction season always produces dramatic headlines
about the art works that achieved record-breaking prices and those that
bombed, yet beyond the hype, all auction results can be misleading. During
last weeks contemporary art auctions in London, for example, the top lot
sold was Eric Claptons painting by Gerhard Richter, Abstracktes Bild
(809-4). The painting went for 21.3 million ($34.2 million) at Sothebys,
way above the estimate of 9 million to 12 million, and set a new auction
record for a living artist.
In total, Sothebys made 69.9 million ($112.1
million) of sales from its contemporary and
20th century Italian art auctions in London
last week, close to its top estimate of 74
million. That looked pretty fantastic on the
face of it, yet without the sale of that one
Clapton painting, the auction house would
not have even reached its low estimate of 54
million.
Auction house sales figures are misleading for
The sale of Gerhard Richter's painting
Abstracktes Bild (809-4) for $34.2 million at
another crucial reason. After any auction, the
Sotheby's last week set a new auction record for
a living artist. (Image credit: AFP/Getty Images
final sale result published by the auction
via @daylife)
house for each lot is not the hammer price for
that work, or in other words, the agreed sale
price reached when the auctioneers gavel finally comes down. Instead, the
auction house also adds on the buyers premium that was paid to that
hammer price amount.
That buyers premium, the amount of commission that all successful bidders
must pay the auction house, is pretty hefty. In New York, the big global
auction houses currently charge 25% of the hammer price up to $50,000,
20% of the amount above $50,000 to $1 million, and 12% of the rest,
1 of 3
8/11/2014 11:31 AM
During The Big Art Auctions This Fall, Take A Second Look At The Res...
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Other than collectively indicating that when an auction house isnt really sure
what a super famous painting will sell for, it sticks a price tag of $30 million
2 of 3
8/11/2014 11:31 AM
During The Big Art Auctions This Fall, Take A Second Look At The Res...
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to $50 million on it, the thing that all these estimates have in common in that
they do not include buyers premiums. Whatever Christiess or Sothebys say
these paintings fetch come November, the hammer price will be lower.
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8/11/2014 11:31 AM
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Caleb Melby Forbes Staff
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12/06/2012 @ 2:20PM
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VIP and press lines were full, with throngs more waiting outside
the Miami Beach Convention Center. A few of those did their best to sneak
past security, resulting in at least one brief skirmish.
Fully anticipating the overwhelming nature of billions of dollars of art on
display, the first galleries inside the convention center entrance had familiar
favorites on display. The Helly Nahmad Gallery, from New Yorks 76th Street,
showed off an impressive collection ranging from Calders Tableu Noir
(1970) (sold at auction in 2010 for $2.5 million), some Rothko color fields, a
small collection of Mirs, and some Picassos, including a Le Peintre et Son
Modele, a piece from a series of works from 1963-64 that have captured
anywhere from $2.8 to $13.7 million at auction.
Across the way, the Galerie Gmurzynska from Zurich had similar fare:
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More to come.
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8/11/2014 11:39 AM
'New Era' For Art Markets As Collectors Drop Half A Billion At Christie...
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8/11/2014 11:40 AM
'New Era' For Art Markets As Collectors Drop Half A Billion At Christie...
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The trend is clear. The wealthy are increasingly putting their capital into
luxury investments seen as alternatives. Over the past few days, billionaire
hedge fund manager Bill Ackman and a group of investors put down more
than $90 million for a penthouse in the luxury residential tower One57; they
have no intention of moving in.
Another hedge fund hotshot, Steve Cohen, recently paid $155 million
(http://www.forbes.com/sites/afontevecchia/2013/03/26/hedgefund-billionaire-steve-cohens-155m-picasso-isnt-his-first-multi-million-pieceof-art/)for a piece by Pablo Picasso formerly owned by casino billionaire Steve
Wynn, a record according to several reports. If listings are any indication of
price trends, these dont seem set to fall anytime soon: only a few days ago, the
Cooper Beech Farm became the most expensive U.S. home for sale, listed for
$190 million as my colleague Morgan Brenan reported
(http://www.forbes.com/sites/morganbrennan/2013/05/19/asking190-million-this-is-americas-new-most-expensive-home-for-sale/).
Last weeks auction saw impressive demand for
some of the most expensive pieces. Jackson
Pollocks Number 19 was sold for more than $58
million (including fees) amid aggressive bidding
from several potential buyers. The piece had last
gone for auction in May 1993 when it was bought by
LVMHs Francois Pinault for $2.4 million, according
to the New York Times (http://www.nytimes.com
/2013/05/16/arts/design/christies-art-auctionsets-record-at-495-million.html). In other words,
the piece delivered a 2,317% return in 20 years.
A 1969 Gerhard Richter titled Domplatz, Mailand
sold at Sothebys evening sale fetched $37.1 million, setting a new record for a
living artist. Richter, who was the current holder of that record, can tell
prospective buyers his works are a good investment: the piece had been
bought in 1998 in London for a then-record $3.6 million by the Pritzker
family, owners of Hyatt hotels and resorts. Total return: 931%.
Demand for good quality pieces, and artists with good prospects, was strong at
Christies. Jean-Michel Basquiats Dustheads skyrocketed in value to a
record $48.8 million, according to the auction house, while bidding for his
Furious Man, which went for $5 million before fees, was intense. Other
highlights include Roy Lichtensteins Woman with Flowered Hat which sold
for $56 million and Mark Rothkos Untitled (Black on Maroon), purchased for
$27 million.
Along with three contemporary art auctions, including Leonardo Di Caprios
Eleventh Hour sale, Sothebys saw its spring week sales figure climb to
$638.6 million.
The post-War and contemporary art markets are definitely red hot. As Ive
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8/11/2014 11:41 AM
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8/11/2014 11:42 AM
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threats of violence.
Taiwanchik, who faces a max of 90 years in the current case, has often been
linked to Semion (The Brainy Don) Mogilevich, who the FBI once called the
boss of bosses of most Russian mob syndicates and the most dangerous
mobster in the world. Both men are believed to be living today in Russia.
But the man next to me, McCalmont, was way down that chain, according to
prosecutors. (Hell, he may not have known many on the links above him.)
The feds say they can prove, among other things, that McCalmont assisted
other defendants in collecting a $2 million betting debt that a client owed, by
buying 50% of the clients plumbing company. The gambling establishment
then allegedly used bank accounts and companies such as that plumbing
outfit to launder tens of millions of dollars of illegal betting proceeds.
8/11/2014 11:42 AM
Scenes From An Arraignment: Billionaire Art Scion Helly Nahmad And ...
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Tuesday.)
The feds claim that Helly, the 34-year-old heir of the billionaire Nahmad art
dealer family, is at the center of the case; in fact, they use his surname in the
title of the two enterprises detailed in the 84-page indictment. His family is
one of the richest and most powerful art-dealing dynasties in the world.
Forbes estimated his father, Davids, fortune at $1.75 billion as of last month
(while its believed the entire family is worth more than $3 billion). Reached
in London on Tuesday, David Nahmad said, I know almost nothing about
the raid that morning of his sons gallery. As for allegations that the raid is
connected with Russian organized crime, he said, I think its totally stupid.
Intriguingly, the indictment states that the illegal enterprise was financed by
a number of different individuals and entities, including Nahmads father.
It states that Helly made two separate wire transfers, totaling $1.35 million,
from his fathers bank account in Switzerland to bank accounts in the U.S. to
help finance the gambling scam. Reached by Forbes again yesterday on that
specific point, David said that he would ask one of his attorneys, Richard
Golub, to talk with me. Hopefully Golub will, but he probably wont.
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A source very close to the Nahmad family tells Forbes that Helly lives in the
ritzy yet overpriced Trump Tower, enjoys a chauffer-driven car, dates
supermodels, spends a lot of time in Monte Carlo, loves to gamble, and is
close friends with actor Leo DiCaprio.
In a profile of the family in 2007 titled The Art of the Deal, Forbes senior
editor Susan Adams detailed how the Nahmads are among the worlds most
influential megadealers of modern and impressionist art. They boast an
arsenal of well-known names, from Matisse and Monet to Renoir and
Rothko. While they conduct most of their buying and selling through the
Sothebys and Christies auction houses, a good deal of art is also sold though
Hellys New York gallery, as well as the gallery of a cousin also named
Helly Nahmad in London. (While his cousin attended the prestigious
Courtauld Institute of Art in London, the New York Helly dropped out of an
art course at Christies in 1997.)
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