FINE ART
AUCTIONS & FIRST PARTY INSURANCE
Michael Sean Quinn
The Law Firm of Michael Sean Quinn
1300 West Lynn #208
Austin,
Texas 78703
(512)
296-2594
(512)
344-9466 - Fax
Fine art should be insured in a
variety of ways. One mode of insurance
is normal property insurance, e.g., insuring the object against fire. Another is insurance against specialized thefts. Some of
it is against losses sneaking up on buyers, sellers, and or middle-entities
resulting from the object was looted, e.g., during World War II. (Maybe this is not actually a verb.)
Among
the factors that can make such insurance unusual are the different parties that
may need coverage. One of these is everyone
in the case, of course, that is likely to want to be—or need to be--an
insured. If this sort of insurance
following the established principles of
property insurance, only a person or entity with a property interest in the
object insured can have insurance on that object, whether personal property or real
estate. (Most art is personal property, though buildings are real estate and
maybe some large, fixed sculpture might also be.)
Sometimes that rule is not enforces
strictly, but approximations are usually demanded, even in odd cases. This
could happen where there is a complicated loan or court judgment, especially
where the entity that does not in the end actually have an ownership interest
in the property but comes close, or, in any case, bought the policy and might
therefore be the policy holder.
Under some circumstances, the insured
may have investigated a state of affairs and approved someone to be a named
insured, even though that person did not have a property interest. An
underwriter might do this, or counsel might. This situation can arise
deliberately, or it could happen by error.
Now in the situation of a fine art
auction, the parties that may need, think they need, or be perceived as
needing, might be (1) the actual seller, (2) the entity or person for whom the ostensible
seller is acting, if any, the ostensible seller being the owner’s agent, (3) the
bidder, who is the trader on the floor working for the seller, the owner, some fraction of these , or the buyer. (4) Maybe the buyer, whether he is to be the owner or is simply the
future owner’s agent, and (5) the ultimate owner. In addition, (6) the auction
house will probably want to be an insured, as will the most interesting
character in the ensemble and the least
known, to wit: the guarantors. if any.
Here is how the set up may look; for
the sake of simplicity, I shall ignore the middle-entity agents and discuss
only the seller, A, the house B, the buyer C, and the guarantors D. In any
case, A has agreed that a picture be sold, on a given night. The auction
house, B, has agreed, for the
purposes of this hypo, to sell it, come what may. However, B has guaranteed A a
specified amount. But what if the sale price comes in lower than B’s guarantee? Enter D.
They may stand in for B; they
may pay on behalf of B, or they may reimburse B for what it has had to pay A. They might even be the actual buyer in the bushes, A's former spouse who hates him.
The guarantors may have no problem if
the auction house burns down. To be sure, A
did not receive his return on the sale, but what B would have owed A has
been wiped out in the A-B contract. It
would contain and exclusionary clause. Consequently, the guarantors would owe
nothing. This problem would be taken care of by fire insurance. upon which A would be an insured, along with
others. A would probably have an
obligation to provide this insurance.
The interesting situation would arise
when the price of the purchase comes in below the guarantee of B to A.
Depending on the size of the amount B may owe, it may seek a bail out from
its group of guarantors. The guarantors
are actually playing the role of a kind of insurer.
Along with its other role, it is B
has guaranteed A a specified amount of
money, and the guarantor group has guaranteed B that it will not itself have to make good on at least part of its
guarantee. (A may have a similar guarantor that has guaranteed that A will gen at least a given price. Again, this is a form of insurance.)
I have no problem conceiving B and D as two or more insurers, at least one primary and at least one
“re.” Others might be nervous about this; that is certainly not its
conceptualization, at least concretely.
Consider the hypo X agrees to do something for Y that will
earn a $100 for Y; X guarantees that amount; Y fails to perform, so X owe Y $100. This is a lot of money for X so it has gone to Z,
bought a promise from Z that it will step
in and pay if this happens. The fine arts actions transactions are instances of this.
Insurance is risk transfer, and what has happened in this hypo is that some of X’s risk has been transferred to Z.
This template may have been
concretely exemplified in the recent sale of the 1950 Giacometti longated bronze
sculpture of a woman painted gold, in part, entitled “Chariot” . Sotheby’s priced the piece at $104.3M, but
the lone bidder bid and paid only a shade less than $101M. Assuming there was a
guarantee running to the seller, this means that Sothebys (or somebody) owed $3.3M to the seller and “change.”
If there is a guarantee on this piece, and $0 deductible or risk-retention, $3.3M±
is what the guarantors would have to pay.
There can be interesting
differences. B may estimate what its total sales are going to be on a given
evening. This might involve a whole list
of different objects. Thus, it may have made a guarantee to A1, A2, A3, and so on, or a guarantee to one seller for several works of art. It may be that
the guarantors start owing money only when B’s
estimate for the entire evening is above total sales. From the point of view of
B, this may not make any difference
is the various obligations have been calculated carefully. It will probably be
fine with the guarantor since its owing money will probably decline very
substantially if the appraisals are
accurate. Still, amounts may differ.
Thus
things would be quite different if there was a whole set of Sotheby’s for all
the sellers. In that case, the auction house might owe “Chariot’s” seller on
the guarantee, but its loss there might be made to equal $0 by other sale
prices. Or maybe not, depending on the terms
of Sotheby’s guarantee for its guarantor.
(There is considerable media coverage
of this sale. A 2014 issue of the NEW YORKER, for example, contains a long-ish history. For a
shorter story, see Carol Vogel, “Thanks to Giacometti, Sotheby’s Hits Its
Highest Total Even at Fall Opening,” NEW YORK TIMES, November 4, 2014. A photo
of “Chariot” is easily findable at numerous locations on the Internet.)
In
either system, whether object by object or by whole lot, the guarantors—to the
extent they are insurers—will require B
to suffer part of the loss. It will
demand this for its own protection since that will induce B to be more careful than it otherwise mighty be in its guarantee,
regarding appraisals it accepts, and in the construction of its catalogues. This is a species of the moral hazard, and it
will be dealt with simply by the use of deductibles or the use of self-insured
retentions.
B itself might
have several guarantors, that is, insurers, if the sum to be, in effect,
insured is very large. It also seems likely that the guarantors will get their
own insurance if they have quite large exposures. In this situation, B might be considered a primary carrier insuring A, the guarantors a reinsurer, and the
insurer of the guarantors, if any, a retrocessionaire.
This third one could, in addition, may
be a different kind of carrier—a primary carrier, even—for one of other
entities in the ensemble, perhaps even by means of the same package policy. Of
course, so might B and D.
In theory, it could even be a liability
carrier for at least one of them in the same policy. But that is a different topic.