Is the art market coming to the end of the age of eternal growth?

The Art Market has been one of many international economic sectors that have wondered what will happen to sales in 2025 since solving the global economy, including President Donald Trump's highly unpredictable execution order.

In March, the French database Artprice published a report in 202, the art market. In this report, Global Art Auction (the only sector in the market with transparent and quantifiable sales data) was USD 9.9 billion, a 33.5% decrease compared to the previous year, with the market causing a "high-channel" market contraction. This adds that for the third year in a row, total auction sales have declined, reducing to its lowest level since 2009. Meanwhile, the report's report shows that the number of land sold in 202 reached a record high of 80,000, with about half of the $600 being sold. According to an Artprice report, many buyers used "cheap stores."

The art market, like most markets, is obsessed with growth. However, the record number of works sold for under $600 is not the growth of senior auction house managers like Sotheby's and Christie, or mega dealers like Gagosian and Hauser & Worth.

For many, it is a major concern about the price of large ticket pieces of 20th and 21st centuries fame name, aimed at supporting the financial and cultural values ​​of this market. The blue chip SO-CALLED ART has not been found to be a dead-forward investment.

Financial Times reported in March by a leading lender of art refined "margin calls" where borrowers have to remove collateral with cash or more art as the loan security value is shrinking. FT quoted Sotheby's Financial Services Global Head of Lending, Last month, London's evening auctions of contemporary and contemporary art saw the value of a shrunken blue chip.

Christie's, for example, the portrait of Amedeo Modiglianis Archetypal Head and Lunia Czechowska (c. 1917), had a large amount of old labels on its back and sold for 6.3 million Gbp ($8.1 million) within estimates. Already in 2011, Modiglianis was on a date with La Blonde Aux Boucles D'Orlitle at New York auction for the same price. After Christie's sale in London, Bridget Riley's Big, Live Daphne (1988) once again 1.

million GBP (with fee), once again within the quote. Riley is similarly constructed and an identically large summary, Gaillard (1989), was auctioned in 2020 for 2.3 million Gbp (with charge).

For many, the main concerns of price concerns for high-priced works of 20th and 21st centuries of fame fame, which aims to support the financial and cultural values ​​of this market. The blue chip SO-CALLED ART has not been found to be a dead-forward investment.

Financial Times reported in March by a leading lender of art's refined "margin calls" where borrowers have to remove collateral with cash or more art as the loan security value is shrinking. FT quoted Sotheby's Financial Services Global Head of Lending, Last month, London's evening auctions of contemporary and contemporary art saw the value of a shrunken blue chip.

Christie's, for example, the portrait of Amedeo Modiglianis Archetypal Head and Lunia Czechowska (c. 1917), had a large amount of old labels on its back and sold for 6.3 million Gbp ($8.1 million) within estimates. Already in 2011, Modiglianis was on a date with La Blonde Aux Boucles D'Orlitle at New York auction for the same price. After Christie's sale in London, Bridget Riley's Big, Live Daphne (1988) once again 1. million GBP (with fee), once again within the quote. Riley is similarly constructed, and an identically large summary, Gaillard (1989), was auctioned in 2020 for 2.3 million Gbp (with charge). Of course, there are always individual outcomes that contradict perceived trends. Last month's modern auction and contemporary work at London Auctions included Alberto Burri from 1955 mixed media work Sacco E Nero 3. Yoshitomo-Nara's painting won £9 million a week (with fee). However, Sotheby's very impressive, high-fee total of 62.5 million GBP (fees) for modern and contemporary auctions in London was 312 million GBP (fees). Big Ticket Art will be available for both auctions and galleries. The missing values ​​may prevent discretionary sellers from offering their works for sale, but this is an era of major transfers of assets, where four DSs (death, divorce, debt, downsizing) release valuable collections that have been gaining rich boomers for decades.

In New York in May, Christie will offer 30 modern and contemporary works from the collection of Leonard Rigazio, founder of the late Burns & Noble worth USD 250 million. This includes Piett Mondrian's, a large red level, bluish-gray, yellow, black and blue composition, which is estimated to be around US$50 million. A month later, Sotheby's will from the collection of Thomas A. Sanders III, former president of the American Right Heritage Foundation, auctions $80 million.

"It only takes three inheritances to die. The auction will be a ChoC-A block," says Guy Jennings, senior director of Fine Art Group, London Advice.

Thanks to this DS, the provision of a large ticket factory market should be a problem, at least when it comes to availability. Now inclusive in Congress, President Trump's budget plans to provide $ .5 trillion in tax cuts over the next nine years.

"Trump's proposal to extend tax cuts and deregulation will benefit the highest income that is most likely to buy art at the top level. Subscriptions and Londoners can encourage the purchase of US cohorts in the coming months. "This could counter more economic uncertainty at a global level, given the fact that several other countries are involved in the arts market," adds Vandenover.

Trump's to and fro on tariffs

Unpredictable introduction of Trump and removal of trade tariffs added this uncertainty. Ben Brown, a modern London dealer with a gallery in Hong Kong, sells Western art and says the US penalty of a 20% import tax hit by beat in China will not affect his business. "Only art created in Tinia is the only thing that is exposed to customs," he says. The extent to which these tariffs could affect China's own art market must still be assessed. "If European art is exposed to tariffs, I would be seriously worried," Brown added.

is a long-term concern and arises at the foundation of the collector's art market. After the millions of dollars distribution of great asset transfers, there was the assumption or at least hope that some of the young recipients of this wealth were eager to buy beautiful paintings, sculptures and paintings like their parents and grandparents. Collector's bases undergo generational renewal, as has been the case for centuries.

But why wealthy millennials and Zoomers need to be immersed in the ever-changing digital culture of Instagram, Spotify and Tiktok. Why should you spend millions of dollars on such things?

ART price database ArtNet, a report published in March, says the market has reached a "generational point" where demand is driven by younger buyers, and "habits of collection collections in luxury, pop culture and digital engagement shapes." Christies reported an online auction for $728,78

with AI-generated art that ended last month.

If this analysis proves to be true, there are serious accounting issues in the art market. Digital art's price range is currently relatively low (one-third of Ai Kun auctions are Christie's looseness under $10,000). Of course, as in 2021, encrypted speculations with this type of art could explode, but the numbers generated are just a few of this painting and sculpture from the 20th century, traditionally shown in the 20th century. What happens if the collector's critical mass dies after purchasing this old analog art? Will the value of art in the 20th century suffer from the same fate as the value of an old master? In this case, how can the number of art markets grow?

"The growing obsession with the arts market is a relatively slow development that has not been addressed by Duveen or Duland Rouel," Guy Jennings said, referring to the big taste of the golden age. "It's a function of capitalism that has passed away."

Is the Art Market a company like terrestrial television, print media, and coal mining that simply has to overcome ideas of growth?