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The action was small at only $9.6 million, but big names were featured at the Phillips de Pury art auction on Friday night. Donald Judd and Jean-Michel Baquiat went under the gavel and home with collectors for the third auction in a row. This follows solid results at Christie's and Sotheby's, marking a distinct turn in the fortunes of the art market.

Phillips de Pury didn't match Sotheby's and Christie's in terms of above-estimate totals and older works, but that really is the norm. So, I wouldn't view the fact that it only hit the middle of its presale estimate pessimistically. Given what was sold earlier in the week at the larger houses, the Phillips sale does nothing but confirm the direction of the art market.

Established artists did continue to rise aove the fray, with Judd's 1987 sculpture, "Untitled (87-29 Studer)," selling for £735,650. Basquiat's "Cash Crop" landscape and collage "Untitled" were the second best sellers behind Judd's work at £713,520 each. All beat their low-end estimates of £600,000.

There was a concern that Phillips would struggle to attract buyers, particularly because the auction was focused on living artists. While the challenge may not have been evident from the fact that 86 percent of the lots sold, it was confirmed by the tendency of them to move at the low end of the presale range.

The 51 lots that Christie's sent under the gavel last night were chosen carefully. The auction was designed to succeed ... which is what you would have thought of every auction until the middle of 2008, right? Nonetheless, the auction house made some bold moves in an effort to push up prices, but only offered lots that would justify putting the necks of its constituent decision-makers on the chopping block.

With a final tally of more than $61 million in line with the high end of the presale estimate, it would appear that Christie's made some smart calls. Forty-six of the lots achieved sale, with one clearing £5 million, nine surpassing £1 million and 16 beating $1 million. Compared to last year's sale, when only 29 lots were offered, the total take surged 3.7X. I tend to be pretty skeptical, but even that sort of result is enough to make me admit that the art market's recovering.

Buyers in Europe and Britain were most active, picking up 41 percent and 33 percent of the sales, respectively. Collectors in the United States followed with 22 percent and Asia at 4 percent.

It looks like art market watchers (including me) were right for the wrong reasons. At the Sotheby's contemporary art auction last night, $84.5 million in sales were completed, but the highly coveted Lucian Freud didn't hit its low estimate. Lucio Fontana, Yves Klein, Willem de Kooning, Peter Doig and Frank Auerbach, however, led to pitched bidding battles.

The evening's highest price was paid for de Kooning's "Untitled XIV," which fetched 4 million pounds over the phone, beating its high-end estimate by a third. The seller was a collector from Europe who picked up the painting from the artist's estate. Doig's "Saint Anton (Flat Light)," an Alpine scene, was good for 2.8 million, also via phone.

But, Lucian Freud still stole the spotlight, if not the top bid. His self-portrait with a black eye carried a low-end presale estimate of 2.8 million – after having been offered at a lower price in private sale before the auction. The seller, Victor Chandler, is a bookmaker based in Gibraltar with a penchant for secrecy: his press officer refused to be named (according to Bloomberg News).

The Lenz collection, also high-profile, performed very well at Sotheby's. Only one of the 47 lots wasn't able to move, and the entire collection sold for 23.2 million pounds, soundly beating a presale estimate of 11.2 million pounds to 15.2 million pounds. The most expensive piece was Klein's "Fire" painting "F 88," which brought in 3.3 million pounds, just shy of its high estimate of 3.5 million.

The evening's surprise came from Auerbach, who's 1956 drawing was purchased by London art dealer Offer Waterman for 1 million pounds, far above the presale estimate of 50,000 pounds to 80,000 pounds. Interestingly, Sotheby's senior international specialist Oliver Barker noted to Bloomberg News, "The gap between Auerbach and Freud and Bacon is closing." Are we seeing a new evolution in the Francis Bacon supply chain?

Overall, the contemporary art auction beat its high-end presale estimate of 45 million pounds and thrashed the 2009 result for the same auction, a mere 17.9 million pounds for 27 lots.

It looks like Christie's agrees with me (or, I agree with Christie's): the art market is going to recover this year. The auction house, which is bringing some powerful inventory under the gavel at its contemporary art sale next month, expects the market to recover this year. With the improvement in conditions, price guarantees may return, as well.

In 2009, Christie's states, sales fell to 2.1 billion pounds, a decline of 24%. For the contemporary category, which was hit worst by the art market slump, sales dropped 59% to 244.3 million pounds -- in 2007, it only took a handful of pieces to get up to this amount.

According to Edward Dolman, chief executive of Christie's, "These figures were much better than we expected." He observed to Bloomberg News, "The art market is vulnerable and we thought we'd be down 50 percent, as we were in the last recession in 1991." Christie's, along with the other major house, Sotheby's, were able to compensate for weakness in contemporary art with sales of Old Masters, wine and jewelry. Also, performance in Asia contributed to the salvaging of 2009, where average selling rates by lot gained 5% to 80% in 2009.

The Old Masters group gained 1% last year, one of only four categories to show an up-tick in 2009. The best performer, however, was the 20th Century Decorative Arts category, which posted a 149% increase, helped along by the 21.9 million euros paid for an Eileen Gray chair at the record-setting Yves Saint Laurent sale.

In 2008, an astounding 65 pieces by Damien Hirst fetched seven-figures each at auction. The total came to $230 million. The numbers are nothing short of staggering, especially when you compare it to what he did six years earlier, when the annual total for his work hit a mere $2 million. Clearly, some excitement was generated, and art collectors rode the wave. The last major sale was conducted at Sotheby's on September 15 and 16. "Beautiful Inside My Head Forever," as it was called, made a killing for the hottest living artist ... right before the financial world went to straight to hell. This bold move, however, led to a period of silence for the artist and stagnation for his collectors.

Shortly after the mortgage market mayhem became a global financial affair, unsold rates for Hirst's work shot from 11 percent to 55 percent by the end of the year. A mere 12 months after his he emptied the insides of his head -- not to mention plenty of inventory -- prices for Hirst's work returned to 2004 levels. A year after buying "Butterfly" painting "I Miss You" in late October 2008, Christie's unloaded it for a mere $450,000, only half what it had paid. In 2004, the piece's initial auction price was $415,000. I suspect this is at least part of the reason why the auction houses backed away from guaranteed minimum pricing ...

With the books closed on 2009, only two pieces by Hirst pierced the million dollar mark, both from the "Butterfly" series. "Tranquility" brought in $1.5 million back in May at an auction in Hong Kong. Almost half a year later, "The Importance of Elsewhere-The Kingdom of Heave" brought in close to $2 million, again at a Hong Kong auction. Both sales came from Seoul, not the usual New York and London communities.

The London art auctions are upon us, and a year has made a hell of a difference. The auctions at Christie's, Sotheby's and Phillips de Pury are expected to fetch at least $104 million, which would be an increase of 68 percent over the same season in 2009. If the houses can pull this off, the art market will probably breathe a collective sigh of relief after more than a year of downright awful results.

At this point last year, the art market was in miserable shape. It was already in trouble, as the recession had begun to crystallize over the summer of 2008, a process which was hardened by the financial market meltdown in September. By the end of the year, prices had plummeted, and the practice of guaranteed minimum pricing had generally been abandoned.

By the end of 2009, signs of a recovery began to emerge, though few were willing to commit to it. A few pieces, such as Andy Warhol's "200 One Dollar Bills" turned in strong performances, but nothing was solid enough to call a trend. Nonetheless, hopes are high for the next round of sales, which will include museum-caliber paintings by Peter Doig and Yves Klein. Shown at right is Andy Warhol's Dollar Sign estimated at $1,950,000 - $2,925,000 at Christie's London Post War and Contemporary Art Evening Auction on February 11.

The first decade of the new millennium was the domain of Latin America, Asia, Turkey and Russia. A robust art market emerged in the Middle East, which brought with it plenty of interest in the region's artist. But, what about Africa? The continent has been underrepresented in galleries and at auction, but it looks like collectors eager to try something new may be developing an appetite for African art.

The region's offering is both large and incredibly diversified, according to a report by Artprice, and over the past 20 years, several African artists have been able to garner some attention at international art fairs and major exhibitions. Pieces have been featured sporadically, with a show at the Centre Pompidou in Paris in 1989 and anther two years later at the New Museum of Contemporary Art in New York. The Africa Remix exhibition toured from 2004 to 2007 ... and that's about it.

There's been a bit more action in the auction market, with Sotheby's becoming the first major house to sell contemporary African art in June 1999, when it sent the Jean Pigozzi collection under the gavel in London. It generated less than $16,000 but still set a record. Since then, Sotheby's hasn't dedicated any London or New York sales to African art (aside from its work with South African auctioneer, Stephan Welz & Co). Bonhams has taken more of an interest in the category, holding an African art sale back in April and moving 64 percent of the lots offered.

Hong Kong's fall sales have been great for records, for Christie's in particular. After several were broken at the art auction this week, the gem scene was ignited. A pink diamond no larger than a chickpea went for $10.8 million, according to Bloomberg News. The stone had the second-highest rating available (potentially flawless) and a weight of 5 carats. It shattered the per-carat record set back in May. Back then, Hong Kong property investor Joseph Lau picked up a 7.03-carat blue diamond at an auction in Geneva for $10.5 million.

The pink diamond was sent under the gavel by Graff Diamonds, a London-based jeweler. The stone was sold to a phone bidder who beat out Liu Yiqian and his wife, Wang Wei. But, those two have bought enough already, right?

Overall, the 255 lots sold (an 89 percent sell rate) brought in HK$372 million, with the action pushed forward by mainland Chinese, a growing trend in the auction world this year. Donald May, a ruby and sapphire dealer based in Hong Kong, attended the auction and told Bloomberg, "There's a lot of mainland Chinese buying; either they didn't know what the items are worth or they wanted them so badly that price didn't matter." He believes that prices were pushed way out of control.

There were other records set in Hong Kong, as well. A sapphire weighing 16.65 carats, set by Van Cleef & Arpels, brought in HK$18.6 million, also setting a per-carat record.

[Photo courtesy of Christie's]

In London today, $90 million in Russian art is going under the gavel, and the auction houses are hoping that a still robust community of Russian billionaires will come out in force to repatriate their heritage. Both Christie's and Sotheby's are holding auctions on December 1, 2 and 3, with MacDougall's, which specializes in Russian art, also selling on December 2 and 3. Bonhams is conducting one today.

There are some signs that the sales could go well. Sotheby's moved $13.8 million in Russian art at an auction a month ago, topping the $9 million presale estimate. The Russian government is saying the economy should grow next year, after falling 10 percent this year. If recovery is en route, big spending Russians may show up at this week's art auctions.

There's no shortage of Russian art coming on the market this week. In addition to the 540 lots being offered by Sotheby's, at a presale range of 14.8 million pounds to 21.2 million pounds, MacDougall's is selling 460 lots (12.5 million pounds to 17.6 million pounds), including a painting of a topless woman by Zinaida Serebriakova for between 1 million pounds and 1.5 million pounds. Christie's has 578 lots, with a presale estimate of 6.5 million pounds to 9.3 million pounds.

I'm still not sold that the art market is recovering (it could be, but it's too soon to tell). But, if it is, the upside is going to the galleries and collectors -- the artists aren't getting squat. November was generally kind to Christie's, Sotheby's and Phillips de Pury, leading to hundreds of millions of dollars in art sales. So, to get their own piece of the art market pie that may or not be forming, artists are starting to go directly to the buyers.

Artist Ryan McGinness hosted a sale of pieces by several artists, with the person who did the work taking home all the spoils. The presale estimate of $47,000 to $57,000 made sense, as the final tally came to $51,300, pretty much in the middle. McGinness himself was present at the event ... via a video connection from Amsterdam.

The traditional auction model trends to benefit collectors rather than artists, as it creates a secondary market for artwork. It's really no different from the stock market. An IPO, if successful, will be the starting point, with the price going up later, to the advantage of all subsequent owners.

Surrealist, modern and postwar pieces will go under the gavel next week at the Christie's Impressioniste et Moderne auction in Paris. More than 140 lots will be offered on December 1, 2009, with presale estimates ranging from $6 million to $9 million. Among the artists represented in the auction, which consists of the Lefebvre-Foinet collection, are Alberto Giacometti, Max Ernst, Henri Matisse and Zao Wou-Ki. The collection was amassed over five generations, with the latest in the family making the decision to sell.

A portrait of Maurice Lefebvre by Giacometti could fetch between $1 million and $1.5 million, but other lots are more attainable. "Lyrical Explosion C," by Alberto Magnelli, is expected to sell for $210,000 to $270,000, and Sonia Delaunay's "Colored Rhythms No. 615" could go for up to $160,000. Playing on the success of the market for Chinese art, Zao Wou-Ki's "5.11.64" could move for as much as $600,000.

Paris has done pretty well through the art market slump, especially when the auctions deviate at least somewhat from the norm. Though there aren't any guarantees, let's keep an eye on this one. It could be the touch of fresh air we need.

[Photo via Christie's]

The Phillips de Pury auction on Thursday night raked in what once would have come from a single painting. Despite parading out pieces by Andy Warhol, Jeff Koons and Richard Prince, the sale was good for a mere $7 million, with individual lots moving for prices in the hundreds of thousands of dollars. Thirty-nine went under the gavel, and eight didn't sell.

The Chelsea auction house lacks the savvy, knowledge and reach of Sotheby's and Christie's, so it had to lean on British art collector Charles Saatchi, who has agreed to complete most of his transactions through Phillips de Pury. In trade, subsidies from the auction house help keep access to Saatchi's gallery free.

Roughly a dozen of the lots came from Saatchi, while the others are said to have been rejected by Sotheby's and Christie's. In general, the pieces were "pretty skimpy," according to Manhattan art dealer Edward Tyler Nahem, who observes that the auction house "did pretty well with what they had."

Japanese artist Yayoi Kusama was the top seller, with her painting "Infinity Nets (T.W.A.)" busting past its high-end presale estimate of $400,000 and settling at $842,500 (including fees). Kusama's performance follows a well-hyped exhibition at the Gagosian Gallery this year.

The Christie's crowd on Tuesday may not have been ready to shell out big bucks for Andy Warhol's "Tunafish Disaster," but the crowd at Sotheby's was more than happy to by a boatload of currency. The top pop artist's "200 One Dollar Bills" found a buyer for a monstrous $43.8 million at the Sotheby's art auction in New York on Wednesday.

Pauline Karpidas, an art collector in London, offered the piece, Bloomberg News reports but wasn't able to verify with the collector herself. It looks like she scored with this one. "200 One Dollar Bills" carried a presale estimate of $8 million to $12 million, which didn't last long.

The piece consists of what its title states: 200 real-sized one dollar bills reproduced in black on grey ... and with a blue replica of the Treasury Department seal. If they were real cash, the sale price was greater by a factor of 219,000.

This wasn't the only success of the evening, and overall, the outcome was fantastic. Only two of the 54 lots failed to find new homes, and the final number, $134.4 million, thrashed the presale estimate of $97.7 million.

Christie's tried in New York with a 1983 piece by Jean-Michel Basquiat and didn't succeed. The auction house may have been too aggressive in estimating the 16-foot piece at $9 million. That's what's tough about the art market right now. There are signs of recovery, and it can be tempting to push for higher prices. Unfortunately, it's easy to get a bit excited. The painting had the highest estimate at the auction. The piece with the second highest presale estimate, a piece by Andy Warhol, met a similar fate.

The Basquiat piece, "Brother Sausage," was offered anonymously by a buyer later revealed by Bloomberg News to be Peter Brant, an art collector based in Connecticut. The piece may be a casualty of his divorce from model Stephanie Seymour. Well, it won't be financing post-marital discord and could remain a contested asset for a while.

Warhol's "Tunafish Disaster" was projected to move for up to $8 million and, like the Basquiat painting, didn't receive any bids. Art dealer Robert Mnuchin of L&M Arts was stuck taking it home.

Yet, some works beat the odds in an auction that raked in $74.2 million, within the presale range of $61.5 million to $88 million. Nonetheless, this was the lowest result we've seen from a Christie's New York contemporary art effort since May 2003 and down 81 percent from the top of the market two and a half years ago.

A big auction with major pieces actually beat the top-end estimate – when's the last time you heard that? Wednesday night at Sotheby's, the Impressionist sale brought in $181.8 million, thrashing the high estimate of $163 million and almost tripling the Christie's auction from November 3, 2009. It's also around three times the last equivalent sale by Sotheby's, which was back in May.

The Sotheby's auction was packed with notoriety. Conde Nast's top dog, S. I. Newhouse Jr., sent some work under the gavel, as did Louis Reijtenbagh. Artwork by Giacometti, Picasso and Renoir was sold. Sixty-six lots were offered, with only 10 failing to sell.

New York art dealer Helly Nahmad told Bloomberg News, "The art market is back," but that may be premature. Bidders were chasing the high-quality pieces, and it is tempting to believe that what auctioneer Tobias Meyer calls "a year of abstinence" is over. The fact that the Sotheby's auction was so much greater than that at Christie's, though, makes me want to see a few more sales before calling it a trend.