Showing posts with label art market. Show all posts
Showing posts with label art market. Show all posts

Saturday, 27 May 2017

Macro and Credit - Orchidelirium

"What, if as said, man is a bubble." -  Marcus Terentius Varro, Roman author
Looking at the recent parabolic surge in Bitcoin (BTC), for us it first resonated with the Dutch Tulip Bulb Bubble of 1637 given the existence of 840 different crypto currencies for a total market capitalization of 85 billion USD. Yet, after our initial thoughts, we reminded ourselves for our chosen title analogy of the Orchidelirium Victorian era flower madness when collecting and discovering orchids reached extraordinarily high. Orchidelirium was seen as similar to Dutch tulip mania. What we find amusing when it comes to Bitcoin is that in November 2013 Nout Wellink, former president of the Dutch Central Bank, described Bitcoin as "worse than the tulip mania," adding, "At least then you got a tulip, now you get nothing". No offense to Nout Wellink but at least when you bought European High Yield in the past you used to get some yield, now you get nothing but at least, in case of default, there is some form of recovery given that what make most of the value are the expectations of the reimbursement of the principal. More recently, Dutch politicians have offered to ECB supremo Mario Draghi a solar-powered plastic tulip in reminder of bubble concern as reported by Bloomberg on the 10th of May in their article entitled "Draghi stays calm on stimulus as Dutch warn of risks with tulip". The latest parabolic surge in Bitcoin and other crypto currencies, while not powered by solar power but mostly by computer power and speculative endeavors, we find the analogy with Orchidelirium of particular interest given today there still exists some levels of orchid madness, that has sometimes resulted in theft of exceptional orchids among collectors such as the Ghost Orchid. Indeed we live in interesting times and no doubt some level of orchid madness can be felt but we ramble again.

In this week's conversation, we would like to look at potential cracks in the credit cycle such as slowing loan demand in particular in consumer credit in the US and other late credit cycle indicators such as the ebullient art markets and classic cars.

Synopsis:
  • Macro and Credit - Is the US consumer "maxed out"?
  • Final charts - Modern art, fine wines, & horses, are assets that tend to peak just before the start of a pronounced downturn

  • Macro and Credit - Is the US consumer "maxed out"?
Back in March 2017 in our conversation "The Endless Summer" we concluded our long conversation asking ourselves if the US consumer was somewhat "maxed out". We indicated as well that this on-going "Endless Summer" had created a significant windfall for the holders of financial asset. While in recent conversation we have argued that we remained short-term "Keynesian" given the large inflows pouring into various asset classes, while longer term we do remain "Austrian". We are still very cautious for the second part of 2017. 

The "wealth effect" has globally lifted all boats but, in our book a credit cycle's length is around 10 years, so we do believe we are entering the last inning and that the final melt-up in asset prices could be significant before the usual "Bayesian" outcome. From our credit perspective, it appears to us that "cracks" in credit in the US are beginning to show up, particularly in the form of slowing loan demand. While we are not yet sounding the alarm bell, we think in the coming months it is going to be paramount to monitor credit demand and in particular consumer credit. 

You already know the story relating to Commercial Real Estate (CRE) and Commercial & Industrial Loans (C&I) from our recent musings. Despite the "Orchidelirium" over consumer confidence numbers post the US election, C&I growth is trending down (since the beginning of the year) and they are more reflective of what is happening in the real economy. As we indicated recently, weak loan demand tends to be associated with higher volatility yet markets are displaying very high complacency and seem to be oblivious to this recent negative trend, making this continuing rally, one of the most hated bull market in recent history.

From our credit and macro perspective, we live in a credit world hence the importance of tracking loan demand. The latest Fed Senior Loan Officer and Opinion Survey (SLOOS) showed that all is not well in the world of credit as per Wells Fargo note from the 17th of May entitled "Fed Survey Points to Slowing Loan Demand":
"The Fed’s Senior Loan Officer and Opinion Survey showed cooling loan demand for businesses and consumers in Q1. Citing uncertainty and lower risk tolerance, banks continued to tighten standards for CRE loans.
Business Loan Demand Tails Off
The Federal Reserve’s April 2017 Senior Loan Officer Opinion Survey (SLOOS), which roughly corresponds to Q1 2017, points to a general slowdown in loan demand for businesses and consumers. Reports of tightening lending standards varied across loan categories, however.
As shown in the below chart, large and small businesses demand for loans has been moderating since the start of 2016. Domestic and foreign banks reported weaker loan demand on net over the first quarter.

Notably, the slowdown in commercial & industrial (C&I) loan growth does not appear to be due to stricter lending standards, as banks reported no significant net tightening. The survey showed a modest net easing for C&I loans by domestic banks, but a slight tightening by foreign banks.
The SLOOS C&I lending data are contrary to the details within the GDP release. While the survey data point to a slowdown in business loan demand in Q1, the GDP report indicated a strong pickup in business fixed investment with outlays rising at a solid 9.4 percent annualized rate. The strength in business investment may reflect firms’ use of other sources of funding, such as bond issuance and stronger profits.
Consumer Loan Demand Cools
The Fed survey also showed a cooling in consumer loan demand, a finding consistent with the weaker pace of consumer spending in Q1. Lenders reported reduced demand for most consumer loan categories over the quarter, with particular softness in demand for credit card and auto loans (below chart).

A moderate share of banks reportedly tightened auto loan standards in Q1, marking the fourth consecutive quarter of net tightening. Banks stated widening spreads of loan rates over their cost of funds and raised the minimum credit score threshold over the quarter. For credit card loans, a modest share of banks reported easing lending standards, while terms on other consumer loans remained unchanged on balance. We do not take the softer consumer lending report as the start of a new trend and look for consumption to re-emerge in Q2.
CRE Lending: Continued Tightening
The April SLOOS showed that lenders are continuing to monitor pockets of risk in the commercial real estate (CRE) sector, as a significant net share of banks reported further tightening in most CRE loan policies (below chart).

In fact, a major share of banks cited a more uncertain outlook for CRE property prices, vacancy rates and other fundamentals, and reduced risk tolerance as reasons for tightening credit standards. In a recent speech, Boston Fed President Eric Rosengren noted that while a handful of favorable factors have helped support CRE valuations, “positive trends can sometimes evolve into prices that increase more than fundamentals justify.” Banks’ continued tightening of CRE credit should help ease financial regulators concerns of elevated pricing." - source Wells Fargo
While the slowdown in consumer lending is yet to show a similar trend seen recently in other segment such as CRE and C&I, it will remain essential to monitor the situation in the coming months. From our point of view, while equities market are still racing ahead and credit spreads tightening with a clear outperformance of high beta in that respect, it remains to be seen how long fundamentals will be deteriorating and if Q2 will see some sort of reversal. So far, credit weaknesses are simply being ignored by the Orchidelirium crowd. 

In similar fashion, we read with interest Bank of America Merrill Lynch Global Economic Weekly note from the 26th of May entitled "When is "intervention" "manipulation"?" asking themselves about the weakness in consumer credit:
"Are there cracks in consumer credit?
  • Consumer credit creation has slowed, adding to concerns that consumer demand has weakened.
  • We see several factors at play—some benign—which help explain the slowdown, prompting us to fade some of the weakness.
  • We remain positive on the consumer outlook as fundamentals are solid but think it is wise to keep an eye on these indicators.
Credit slowdownThere are signs that consumer credit creation may be slowing. According to the New York Fed’s Quarterly Report on Household Debt and Credit, new mortgage originations dropped to $491bn in 1Q from $617bn in 4Q. Also it showed that the growth in the number of open credit card accounts decelerated in 1Q 2017, implying that demand for revolving credit may be slowing. In fact, respondents from the Senior Loan Officer Opinion Survey reported that demand for credit cards on net has slowed despite looser credit standards (Chart 2).

In this piece, we take a look at the potential causes of the slowdown in credit creation, specifically revolving credit, and what it means for consumer demand in the near term
Assessing the potential causes
A few potential reasons—some benign and some not so benign—appear to be at play for the slowdown.
1. Involuntary account closures:
The latest New York Fed’s Survey of Consumer Expectations (SCE) Credit Access report for February showed an uptick in involuntary account closures. Five percent of respondents reported that at least one credit account was closed by the respondents’ lender, up from 3.8% in the prior survey in October 2016 and the highest recorded since the survey began in late 2013. Breakdown by respondents’ credit score shows a notable pickup in account closures for less credit worthy consumers as 14.8% of respondents with credit scores at or below 680 reported an account closure, up from 9.6% in the prior survey (Chart 3).

This could be a potential sign that household finances may be stretched as households are beginning to have a more difficult time remaining current on their debt payments. Indeed, the New York Fed’s Report on Household Debt and Credit showed notable growth in seriously delinquent balances for credit cards and auto loans in the last two quarters (Chart 4).

We have already started to see pace of auto sales begin to moderate which we think could be a potential source of weakness for the economy. Further deterioration of the household balance sheet could slow consumer demand.
2. Perception vs Reality:
As mentioned above lenders are reporting looser standards. However, better consumer demand failed to follow. According to the NY Fed’s SCE Credit Access survey, close to 30% of respondents reported that they think they would be rejected for a credit card today, near comparable levels seen last year (Chart 5).

Additionally the same report noted that the application rate for credit cards fell to 25.3% from a high of 30.6% in June 2016, further corroborating the lack of increase in demand. What’s interesting is that application rates are down across the credit score spectrum suggesting it may be broad-based perception that credit is hard to obtain at the moment. Given that lenders remain constructive on lending standards, the slowdown may prove to be transitory.
3. The influence of Millennials:
In the wake of the Great Recession, Congress passed the CARD Act of 2009, a comprehensive credit card reform legislation to protect consumers. Under the bill, lenders cannot issue credit cards to a consumer under the age of 21 unless they prove they have independent income or obtain a cosigner. Given more restrictions to obtaining credit, many millennials are less “credit mature” in their 20s compared to the previous generations. Therefore, as millennials come of prime working age, many are having a tough time obtaining credit cards as lenders are unwilling to extend credit to individuals that have a short or no credit history, hampering credit creation. Moreover, due to the experience of the Great Recession millennials may be less inclined to buy using credit or are “convenience users” who pay off their entire credit card balance every month, limiting the need for multiple credit cards.

Implication for the economy
It’s unclear whether the slowdown in the growth of revolving credit is just a temporary soft patch or a more nefarious sign of a downturn in the economy. On one hand, we are starting to see some cracks in consumer demand. Even accounting for residual seasonality and warmer weather conditions dampening heating demand, personal consumption expenditures slowed notably to start the year. Also, the lackluster April retail sales report and a step back in auto sales since March does not inspire confidence that we will see a quick rebound. In this environment, a slowdown in credit creation stands out. On the other hand, we’ve had situations in the past where credit demand had receded during expansions only to reverse. Also, as previously mentioned, some of the potential factors at play for the pullback in credit demand could be more about changing demographics and tastes rather than a signal of weakness.
At this point, we are inclined to mostly fade the weak signals. The consumer backdrop is largely supportive. Job growth remains robust and given the low level of the unemployment, wage growth should head higher, albeit slowly. Also, aggregate household leverage has returned to healthy levels and the saving rate remains elevated (Chart 6).

This suggests that there may be another gear for consumption if households deemed it worthwhile to spend or it can be used as a buffer to stabilize against any potential negative shock that may hit the economy.
Bottom line
The jury is still out on credit conditions for the consumer. Credit demand seems to have slowed but lending standards remain favorable. On the other hand, we are starting to see pockets of stress on the household balance sheet that could spark weakness in the overall economy but so far it seems contained. We will be closely monitoring credit conditions for early warning signs of a slowdown in the economy. It squarely remains a risk to our outlook." - source Bank of America Merrill Lynch
Whereas it is too early to envisage some clear headwinds for the US economy thanks to weaker loan demand, it is clear to us that, in this late credit cycle, it remains very important to track SLOOs going forward. While default rates remain subdued in comparison to 2016, tightening in credit standards in conjunction with rate hikes will eventually weight on High Yield but for now, inflows remain strong and in particular in Investment Grade as indicated by Bank of America Merrill Lynch in their Follow the Flow note from the 26th of May entitled "Inflows into high grade continues":
"The convexity trade
Buy what they buy or buy convexity. IG funds continued to see strong inflows, as the ECB has been buying a larger volume of corporate bonds over the past couple of weeks. Additionally, flows into equity funds have improved over the past couple of months, on the back of a supportive earnings story in Europe. On the flip side, flows into high yield have slowed significantly, as the market now offers the lowest yield on record.
Over the past week…
High grade funds recorded another strong weekly inflow, the 18th in a row. High yield fund flows also remained in positive territory for a fifth week, but last week’s inflow was marginal. Looking into the domicile breakdown, as Chart 13 shows, inflows to European-domiciled HY funds with a European-focus were also marginal, while the inflows from global-focused funds were offset by outflows from US-focused funds.
Government bond fund flows last week were negative for a third week. So far this year, the asset class has suffered losses in 14 out of 21 weeks. Money market funds suffered a sizable outflow last week, the second in a row and the largest in 60 weeks. Overall, Fixed Income funds recorded their 10th consecutive weekly inflow, but this one was the smallest in five weeks.
European equity funds continued to see inflows for a ninth consecutive week. However, the pace has slowed down w-o-w. So far this year, the asset class has seen more than $15bn of inflows.
Global EM debt funds continued to see inflows, for a 17th consecutive week. The asset class has so far this year enjoyed stellar inflows of over $33bn. Commodities funds had their 11th week of inflows, predominately driven by inflows into gold funds.
On the duration front, positive flow numbers were recorded in mid-term and short-term IG funds, for the ninth and 23rd week in a row, respectively. However, flows into long-term funds were negative for a second week." - source Bank of America Merrill Lynch
With such a strong tide in credit funds and particularly High Grade, it is hard to see how the Orchidelirium can cease for the time being. Many portfolio managers we know are getting bored by the day by this one way market, with new highs daily, record low volatility, tighter credit spreads and steady inflows. Apart from an exogenous factor such as a geopolitical event, it's hard to think about what could be a catalyst for a reversal in this Orchidelirium.

Some would point out to the record levels touched by household debt surpassing 2008 peak as indicated in Wells Fargo's Interest Weekly note from the 24th of May:
"Household debt rose 1.2 percent in Q1 to $12.73 trillion, surpassing the $12.68 trillion mark set in Q3-2008. After accounting for population growth and inflation, however, households are not nearly as levered as 2008.

Aggregate Household Debt Returns to 2008 Levels
Household debt rose by $149 billion in Q1-2017, bringing the aggregate level of debt to an all-time high (top chart). Although the return to this level of debt has grabbed headlines, there are a few important considerations when comparing household borrowing today relative to a decade ago.
First, the composition of debt has changed significantly. There has been a shift away from mortgage lending and towards autos and education-related debt. As a share of total debt, student loans have more than doubled from a 4.8 percent share in Q3-2008 to a 10.6 percent share today. Auto lending has seen a similar, albeit more moderate, trend. Mortgage debt, however, remains $670 billion below its 2008 peak.

Second, although household debt has surpassed its previous peak, this ignores a series of other factors, such as population growth, inflation and growth in real output. As illustrated by the dark line in the middle chart, nominal debt per capita still remains short of its 2008 level. After adjusting for inflation, blue line, it is even clearer that the average household’s debt portfolio is smaller relative to a decade ago. When viewed through this lens, the recent growth in household debt looks much more modest.


Loan Quality Fairly Stable on Trend
In terms of loan quality, household debt delinquencies remained roughly flat in Q1, although there were some differences between categories of loans. Auto loan delinquencies ticked modestly higher and have risen very gradually over the past few quarters (bottom chart). Credit standards on autos have tightened from already relatively constricted levels; the median credit score for a newly originated auto loan was 706 in Q1, a 6 point increase from Q4 and well above the 686 reading in Q3-2007 on the eve of the Great Recession. Mortgage debt drove most of the growth in Q1. As we have highlighted in other reports, a mild winter weather likely pulled forward some housing activity that would typically take place in the spring. This in turn helped spur a strong first quarter for the housing market, with real residential construction expenditures rising at a 13.7 percent annualized rate. Auto loans and student loans grew $10 billion and $34 billion, respectively, while credit card balances declined by $15 billion.

On balance, the recent growth in household debt is a broad sign of strength rather than consumer weakness. Student loans remain a long-term secular challenge, and other areas, such as autos, warrant close monitoring as new data become available. That said, household leverage remains lower than it was in the 2000s credit bubble while the personal saving rate is higher. Despite the Q1 weakness, we expect real consumer spending to rebound in Q2 amid an ever-tightening labor market and healthy consumer confidence." - source Wells Fargo.
Yet, the latest batch in soft macro data such as retail sales and New Home Sales falling by 11.4% the most since 2015, it remains to be seen if indeed as in Q1 2016, that the soft patch we had in Q1 2017 with the now revised 1st Quarter GDP at 1.2% will be offset going forward by better macro data in Q2 2017. With US durable goods orders falling by 0.7% in April for the first time in 5 months we are wondering if the trend in softer macro is going to continue while confidence is very strong in another rate hike by the Fed in June. 

  • Final charts - Modern art, fine wines, & horses, are assets that tend to peak just before the start of a pronounced downturn
Back in July 2016, in our conversation "Who's Afraid of the Noise of Art?" we quoted one of the recurrent themes of our friends at Gavekal research, namely that it has “never been so expensive to be rich” particularly if you want to snap up a classic Ferrari it seems. Kudos to our central bankers and their obsession with the "wealth effect":
"As most of our readers will know, modern art, fine wines, & horses, are assets that tend to peak just before the start of a pronounced downturn of the economic cycle. And interestingly, over the past couple of months, these assets have really been shooting up, breaking several records on the way" - source Gavekal, July 20th 2006.
History does indeed rhyme and we must confide that at this stage of the "credit cycle", we are afraid of the Noise of Art given back in 2006 our Gavekal friends indicated the following:
 "Usually, the last thing to go up in prices are rare automobiles" - source Gavekal Five corners, July 20th 2006.
This time it's different? We don't think so. Our final chart comes from Knight Frank's most recent wealth report and displays the stellar performance of classic cars in recent years:
"The Drive to Quality
For classic cars, “2016 was the year of the slowdown,” says HAGI’s Dietrich Hatlapa. For anybody not familiar with the market, that looks like a slightly downbeat claim as annual growth was still a very respectable 9%. But set against total growth of 151% over the past five years, it is clear that the market has dropped down a few gears. “Those who were in it just for the money have moved on,” says Mr Hatlapa. “The market is now more in the hands of the collectors and specialists, which I think is good news for the real enthusiast.”
According to data from the Kidston 500, another market-tracking index, of the cars put up for sale at the top international auctions during 2016, 78% sold by number – down from 84% in 2015 – while the proportion of cars selling for below their low estimate rose by 20%.
The pattern is the same in the US, says Brian Rabold, Vice President of Valuation Services at specialist insurer Hagerty. The firm’s Blue Chip index, which tracks the value of 25 of the European, US and Japanese cars most prized by US collectors, fell by 1% last year. “Over the past year or so we’ve seen a shift from a sellers’ to a buyers’ market,” he says. “People are becoming more selective. Last year there were 26% fewer auction sales of cars over US$1m in North America.” He also notes a shift in interest towards new models like the Porsche 911R. “Our top 1,000 clients are buying cars from the 2000s like never before.”
But despite the slowdown, the rarest cars in the right condition with the most desirable provenance will continue to set world records, says Mr Hatlapa.
Simon Kidston, who set up the Kidston 500, agrees: “Yes, the pace of deal making is noticeably slower, and the headline figures don’t convey that the underlying mood is much more reflective and uncertain amongst buyers and sellers. But until there are better, more mobile and tax efficient havens for cash, the market is likely to remain active and capable of reaching new peaks when fresh discoveries emerge from hiding.”
As if to prove the point made by Mr Hatlapa and Mr Kidston, a Ferrari 1957 335 Sport became the most expensive car to go under the hammer ever, in euro terms at least, when it was sold by Artcurial in Paris for €32m.
In the US, the annual Monterey sales also delivered new benchmarks. An historic 1962 Shelby Cobra went for over US$13m with RM Sotheby’s, making it the most expensive American car to sell at auction. A 1955 Jaguar D-type grabbed the record for the priciest British car to go under the hammer when it fetched almost US$22m. And, dispelling the myth that nobody is interested in older cars any more, Alfa Romeo joined the party with a 1939 8C Lungo Spider making just under US$20m – a new record for a pre-war vehicle.
However, the most expensive car sold last year was handled privately by Mr Kidston. The exact price achieved for the 1962 Ferrari 250 GTO has not been revealed, but it exceeded the highest sum ever paid at auction (US$38m for another 250 GTO sold by Bonhams) for a classic car and was possibly the biggest deal ever struck." - source Knight Frank - The Wealth Report 2017
However, there is more under the hood that meets the eye. As we indicated back in our July 2016 conversation, we have kept a close eye during the last couple of months on our interesting, yet entertaining exercise of building up a "virtual garage" made up of "classic cars" of interest and monitored on an ongoing basis their valuation by using the website "mobile.de". What we have continued to notice since we added a few cars in our "virtual garage" is some interesting price revisions taking place. For instance a Ferrari Dino 246 GTS was parked in February 2017 at the price of €449,000 and now is offered at €397,000. Another Ferrari Dino 246 GT was parked as well in February for a price tag of €375,000, now it is offered at €315,000. A Ferrari 250 GTE was parked in May 2016 for €475,000 and is now offered for €395,000. Rarities such as some 1955 Mercedes-Benz 300 SL CoupĆ© Gullwing are still commanding an impressive 1,600,000 EUR price tag and are yet to show any price revisions at the moment. 

What we find of great interest is the "Cantillon effect" and the significant rise in price appreciation for classic cars can be directly link we think to our central bankers generosity and their "dear wealth" effect and some form as well of Orchidelirium. Yet, the classic car market continues to face some headwinds as per the latest read from the Hagerty Market Index which is an inflation adjusted open ended index (similar to the DJIA or NASDAQ Composite) based on change in dollars and volume of the market:
- source Hagerty

Furthermore in a period of Orchidelirium and in similar fashion to 2006 we are not surprised to see records being broken in art auctions as per last week in New York as reported by ArtNet:
"A staggering $1.6 billion worth of art changed hands during New York’s auction gigaweek last week. The three houses stuffed 11 sales of Impressionist, Modern, postwar and contemporary art into just five days. The combined total is up $400 million from the equivalent sales in May 2016, which made $1.2 billion. What should market-watchers take away from the onslaught? Here are our parting observations:
Biggest Trend: Big-Ticket Lots
Top-heaviness seems to increasingly define the evening sales. Both Christie’s and Sotheby’s were deeply reliant on a few top items. Consider Sotheby’s postwar and contemporary sale, where the record Basquiat, which sold for $110.5 million, represented a third of the evening’s $319.2 million total. Throw in the second-priciest lot of the night, a Roy Lichtenstein that fetched $24 million, and the two items account for about 42 percent of the sale.
Biggest Winner: Christie’s
All told, Christie’s made $833.9 million from its four sales last week, besting rival Sotheby’s by nearly $200 million. The publicly-traded auction house made a combined $635 million from its five sales. Meanwhile, Phillips, which did not hold Impressionist and Modern auctions, made $128.9 million last week.
Biggest Loser: The Owner of This Wade Guyton
It’s easy to focus on record prices and dizzying numbers, but don’t forget: Not everyone who puts an artwork up for auction makes money. To wit: One unlucky collector bought Wade Guyton’s Untitled (2005) at Christie’s New York in March 2014 for $1 million. It sold at Phillips last week for $670,000—a $330,000 loss. Ouch.
Most Likely to Make Auctioneers Nervous: Big-Ticket Withdrawals
Each house withdrew a major lot at the last minute last week—an indication of just how skittish consignors can get in the absence of guarantees. At Phillips’ contemporary art evening sale, the consignor of the second-highest estimated work, Gerhard Richter‘s Abstraktes Bild (1994) (est. $15–20 million), got cold feet. (“It is the consignor’s decision to take the painting out of the sale and we have to respect that,” Phillips’ chairman Cheyenne Westphal said after the auction.) The evening before, Christie’s withdrew Willem de Kooning‘s Untitled II (1977), which had a hefty estimate of $25–35 million. But perhaps the biggest disappointment was Tuesday’s last-minute withdrawal of Egon Schiele‘s painting DanaĆ« (1909) (est. $30–40 million) from Sotheby’s Impressionist and Modern art sale. Not only was it the priciest lot of the evening, it was also the cover lot of the catalogue. The painting’s $30 million low estimate had represented some 20 percent of the low estimate of the sale overall.
And…the Best-Selling Artist of the Week: Jean-Michel Basquiat
Not only is the American artist responsible for the most expensive single work of art sold last week—the $110.5-million canvas Untitled (1982)—he also cleaned up at all three auction houses. All told, the 27 Basquiat works on offer in both the day and evening sales sold for a total of just over $200 million. Here’s the breakdown.
Christie’s: $57,863,500
Sotheby’s: $130,905,004
Phillips: $12,976,000
Total: $201,744,504" - source ArtNet
Absence of guarantees are indicative of tightening financial conditions as well in the art market. If you read again our July 2016 you well learn that auction guarantees have proliferated since the financial crisis. Irrevocable bids were part of financial machinations that distort the art market. When highly valued works with prearranged bids come up for auction, in many cases there is no genuine bidding and they were bought by the guarantors. In the past, so-called irrevocable bidders were compensated with a part of the auction house’s sales commission only if another buyer purchased the artwork that they had backed. Now, by opting for a fixed fee, they are guaranteed a payout and can get the artwork effectively at discount. Auction houses have resorted in the past to "vendor financing" but as well as paying some buyers to bid on its artwork. If potential buyers are not even agreeing on fixed fee to make at least a minimum bid as per Sotheby's 2016 incentive, then we are not surprised there were big-ticket withdrawals. Yet another indication of deterioration in the "credit" cycle coming this time around from the art market.

So not only there is a risk for yet another soft patch in Q2 and other macro releases and additional pressure from loan demand and consumer credit, but we think you should also keep a close eye on what is happening in the art market also at risk of facing a "soft patch". While "classic cars" have enjoyed "stellar returns" for the savvy and wealthy investors, they continue to show sign of slow down and price revisions.

"The stock market is filled with individuals who know the price of everything, but the value of nothing." - Philip Arthur Fisher

Stay tuned!

Tuesday, 5 July 2016

Macro and Credit - Who's Afraid of the Noise of Art?

"Nations have their ego, just like individuals." -  James Joyce, Irish novelist
Back in September 2013 in our conversation "The Cantillon Effects" we described increasing asset prices (asset bubbles) coinciding with an increasing "exogenous" (central bank) money supply. We pointed out a very interesting study by Cameron Weber, a PhD Student in Economics and Historical Studies at the New School for Social Research, NY, in his presentation entitled "Cantillon effects in the market for art":
"The use of fine art might be an effective means to measure Cantillon Effects as art is removed from the capital structure of the economy, so we might be able to measure “pure” Cantillon Effects.
In other words, the “Q” value in the classical equation of exchange is missing all together for the causal chain, thus an increase in the money supply might be seen to directly affect the price of art.
Economic theory is that as money supply increases, the “time-preferences” of art investors decreases (art becomes cheaper relative to consumption goods) and/or inflationary expectations mean that art investors see price signals (“easy money”) encouraging investment in art." - Cameron Weber, PHD Student.

Nota bene: Classical equation of exchange, MV = PQ, also known as the quantity theory of money. Quick refresher: PQ = nominal GDP, Q = real GDP, P = inflation/deflation, M = money supply, and V = velocity of money.
-Endogenous money, PQ => MV (Hume, Wicksell, Marx)
-Exogenous money, MV => PQ (Keynes, Monetarist)

In our on-going "Cantillon Effects", we get: Ī” M  => Ī” Asset Prices or the famous "wealth effect" dear to our "Generous gamblers" aka central bankers.

The most interesting part of using the art market as a "proxy" for asset bubbles is indeed that money changes (namely the monetary base) leads to the creation of "asset bubbles".

So you might be wondering why our chosen title on this specific topic? Well, (Who's Afraid Of?) The Art of Noise! was Art of Noise's debut full-length album, released in 1984, a called it a "techno-pop classic" and had a clear influence from German band "Kraftwerk". Given our fondness for electronic music from the 80s, we thought it be interesting to use this reference as in this particular conversation we would like to focus on the potential changing trends in the art market we are seeing. This additional indicators such as prices for classic cars as well, could be additional pointers to the lateness of this credit cycle we think.

In this conversation we will look at the trends in the art markets as well as classic cars which could portend a reversal in financial markets hence the importance, we think to regularly monitor this different yet important alternative "asset class" from a "macro" perspective and ask ourselves if indeed we should be afraid of the "Noise of Art" and its consequences.

Synopsis:
  • Macro and Credit - Sotheby's woes are only beginning as the art market and the economy are entering a soft patch
  • Macro and Credit  - Classic cars? Downshifting...
  • Final chart: Classic cars have been "turbocharged" 

  • Macro and Credit - Sotheby's woes are only beginning as the art market and the economy are entering a soft patch
Looking at the fall in Sotheby's stock and volumes in sales, is always of interest as in the past, the art market has always been an interesting indicator. The only major listed auction house Sotheby's (ticker BID) has on numerous occasions proved a timely indicator of potential global stock markets reversal by three to six months. While one year return for the stock has been dismal at -38.98%, Year to date so far the stock is up 5.82%. yet we believe that given that the art market, as well as the US economy is about to enter a soft patch and we think this is already confirmed by lower US government bond yields and a flatter yield curve and also we expect weaker Nonfarm payrolls going forward to that respect. If indeed we are correct in our assumption, then we think you are better off sticking with Sotheby's bonds rather than its stock, us of course having somewhat a credit bias. To that effect, we were in agreement with interest Bank of America Merrill Lynch's note on Sotheby's 5.25% bonds which date from the 6th of April 2016 entitled "5.25s are a masterpiece; Initiate at Overweight":
"Cyclical industry entering soft spot
The art market is entering a soft spot as a result of unfavorable changes in global exchange rates, a slowing economy and decelerated asset appreciation. Based upon lower art industry volumes, we believe that Sotheby’s Adjusted EBITDA will decline in FY16. However, the company has substantial liquidity to weather a more difficult environment.
Much to like
We believe that there are many attractive attributes of Sotheby’s business, including: (1) a strong brand name and positioning within the art auction industry; (2) the predominantly duopolistic nature of the art auction industry; (3) limited risk of substantially-levering acquisitions; (4) significant liquidity; (5) minimal maintenance capex; and (6) no near-term maturities. Sotheby’s has been engaged in the art auction industry since 1744 and over this tenure, has built a brand that would be challenging to replicate. Additionally, the duopolistic nature of the industry provides the company with the ability to increase price, as evidenced by a February 2015 increase. Despite small acquisitions over recent history, we believe that the company will not be a major participant in M&A activity in the future, limiting the risk of leveraging transactions. Financially, we estimate that maintenance capex is ~$10 million, which contributes to strong free cash flow and the company has no near-term maturities with which to contend.
FY16 EBITDA to decline, but free cash flow positive We estimate that Sotheby’s Adjusted EBITDA will decline 24% to $236 million in FY16.
However, we estimate that free cash flow will total $88 million, leaving net leverage only 0.4x higher at the end of FY16 (vs FY15).
Initiate at OverweightWe recognize that financial results could be soft in the immediate future. However, we believe that the rough period will be brief and that the company has adequate liquidity to operate through an extended downturn. Trading at a yield-to-worst of 7.3%, we believe that current trading levels are attractive, and initiate coverage on the BID 5.25% Sr Notes with an Overweight rating." - source Bank of America Merryll Lynch.
Whereas tactically this recommendation paid handsomely given the bonds are trading back close to par, when it comes to assessing the viability of Sotheby's business in the long run as well as most recent fall in art trading volumes, we must confide that we do not share Bank of America Merrill Lynch's views on Sotheby's ability to survive in the long run.

First of all as per Bank of America Merrill Lynch's note, inventories are up, leverage is up but, thanks to "cheap credit", the loan portfolio balance is still increasing, meaning that from our perspective, Sotheby's is resorting increasingly to "vendor financing" thanks to "Cantillon effects" and the "generosity" of our central banking deities:
"Inventory sales increased 23% to $36 million with $3 million of losses on inventory sales. Finance revenues totaled $17 million, a $2 million increase from 4Q14. The loan portfolio balance was $682 million at the end of 4Q15 (an increase from $644 million at 4Q14).
From an operating cost perspective, marketing expenses increased $1 million to $7 million. Salaries and related costs decreased $14 million to $75 million. G&A expenses decreased $4 million to $42 million. 4Q15 Adjusted EBITDA totaled $145 million vs $152 million in 4Q14. Based upon outstanding debt of $1.2 billion, total leverage was 3.8x at quarter end." - source Bank of America Merrill Lynch
Secondly, we do not believe no matter how "dominant" Sotheby's position is, that its business as well as its financial position are secure. On that note, we read with interest Artemundi's note from the 10th of June entitled "Sotheby's with one step closer to the grave":
"It has been a disastrous year for Sotheby’s, but the writing has been on the wall for a while. A series of unfortunate events has driven Sotheby’s to walk a tightrope, beginning with Bill Ruprecht stepping downin November 2014 -amid criticism- as CEO after being with the company for 34 years. His rookie successor, Tad Smith, and the new amateur directing board committee have exhibited their lack of experience within the art market, refocusing company ideals to make Sotheby’s a marketing brand that favors advertising and technology for online retail. The new management, forgetting that art remains a business where knowledge really matter, has adopted a new strategy limiting PR expenses. This has led to an unprecedented exodus of the company’s best asset: knowledgeable staffers with strong client relationships and more than 300 years of experience. Vicepresidents, Specialists, Worldwide Heads, Chairmen, and even CFOs have abandoned the sinking ship. The resulting feeling of an uncertainty and instability now pervades the glittering glass-and-granite-fronted building on Manhattan’s Upper East Side. Personally visiting the venue on Sunday, left us with the distressing feeling of a rundown business, just like a ghost with spiritual emptiness, or a phantasmagoric carcass of what once was one of the world’s largest brokers of fine art.
In a desperate effort to compensate for the auction house’s emptiness, the board of directors decided to overpay the private firm, Art Agency Partners, around $85 million on January 11th, 2016 to boost private sales. Thus, this auction season, all art market analysts’ eyes were on Sotheby’s expecting a miracle with Amy Cappellazzo as Sotheby’s triumphant savior. As expected, Post-War and Contemporary auctions developed smoothly with an astonishing 95% sell-through rate. It was a solid $242 million sale made extraordinary if we consider the context within which it was developed but a small sale nonetheless. Clearly the resulting revenue from this sector is not enough to cover the entire auction house’s expenses and debts. The failing 66% BI-rate for the Modern and Impressionist catalogue was a big downturn for Sotheby’s confidence. Excluding Post-War and Contemporary, the lack of talent on the other business sectors has deeply affected the quality and quantity of artistic offer.
 - source Artnet
To summarize, Sotheby’s total sales volume dropped almost by half: last year the house generated $748 million in sales, compared to this year’s $386 million. Furthermore, it seems that Sotheby’s own team tries to boycott its own selling process. The Latin American auction held on May 24th, suffered from serious technical problems for the morning online bidding, when the firm was unable to stream the live auction or place the selling results. The Latin American department surely worked very hard for six months, only to find themselves victims of the IT department’s inefficiencies.
As a result, the insufficient cashflow forces the company heavily depends on its credit facility. In fact, Sotheby’s has just announced that total sales revenue dropped 8%, suffering a $73M loss in 2015, which incremented $11M from last year’s forfeiture of $66M. In 2015, Sotheby’s gross margins narrowed from 47.25% to 43.72% compared to the same period last year, operating (EBITDA) margins now 27.19% from 30.75%.2 Narrowing of operating margins contributed to decline in earnings. As of today, Sotheby’s EBITDA margin keep falling, since on Friday 10th, the company’s EBITDA was of 14.58. This position had seriously affected Sotheby’s BID stock, which has crashed 54% over the past twelve months. Consequently, Sotheby’s current credit rating is at risk. That is to say, if Sotheby’s corporate credit rating from Standard & Poor Rating Services is downgraded to “BB-”, “B” or “B+”, the revolving credit line might be recalled and the auction house may be facing insolvency problems too frightening to even mention.
In addition to the current long-term debt of $603 million, Sotheby’s 25-year-mortgage originally had an initial annual rate of 5.6% has now increased to 10.6%. In fact, the possibility of relocating the business’ headquarters was presented at the New York Times in June of 2013. According to the New York Post, Sotheby's has retained Peter Riguardi of commercial real estate company JLL to help it search for a new location, possibly in the Hudson Yards development on Manhattan's far west side.
In what may be a "coup d’grace", a private, Singapore-based investment group called Shanda has just announced its ownership stake in Sotheby’s. Shanda originated as an online gaming company and is run by co-founders Tianqiao Chen and Chrissy Qian Qian Luo. They currently own two percent of Sotheby’s shares and could increase their stake to as much as 10 percent, raising the possibility that Sotheby’s could be acquired or taken private. According to Forbes, Chen, a self-made millionaire was a pioneer in China’s online game industry a decade ago and holds a Bachelor of Arts from Fudan University. As a collector himself, Tianqiao Chen might be acquiring prestige through the auction house’s purchase. In case you have not recalled this situation, the name Alfred Taubman might sound as a dĆ©jĆ  vu. That is to say, Alfred Taubman took over the auction house in 1983, after he was object of ill treatment at Sotheby’s before he bought the business.8Would Chen’s money be just a tantrum or a fuel of fresh energy that Sotheby’s urgently needs? Let us hope that China’s 10th richest man truly understands the situation he is getting into." - source Artemundi - "Sotheby's with one step closer to the grave"
Maybe Bank of America Merrill Lynch analysts and their loan officers aren't afraid of the "Noise of Art" but, when it comes to our assesment of the situation, increasing leverage and "vendor financing" is not a long term "good recipe". The credit facility due in 2020 is $541.5 million. If indeed the credit facility get recalled, it might be "game over" for this business founded in 1744.

Furthermore, there is an ongoing assymmetry in the art market particularly in contemporary art where only a few names are dominating sales as well as the auctions. This assummetry is well described in ArtAscent article from the 1st of February 2016 entitled "Market trends and reality: two examples":
"At a sale on March 7, 2014, Koons’ ceramic Balloon Dog (Red), number 131 of an edition of 2,300, sold for $22,500. This appears to be a good return on an investment held by the collector for 18 years. If one considers the transaction in a little more detail, the return on investment is not all that it might seem at first glance. The process of calculating a return on investment is a little complicated, but it is well worth understanding how it is done.
First the sale price must be discounted by the 25 percent buyer’s premium retained by the auction house. In this case of Koons’ Balloon Dog (Red), it was 25 percent of $22,500. So from the transaction, the seller’s account was credited with $18,000. From this was deducted the auction house seller’s premium or commission of 20 percent. Thus, the seller pocketed $14,400 from the sale. In calculating the return on investment we need to know the cost base or book value of the work. This is particularly difficult as commercial galleries are notoriously tight-lipped on sale prices. It is possible that the owner of the single piece from the large edition of Koons’ Balloon Dog (Red) acquired it for something in the range of $2,000. The return on the 18-year investment ($14,400 – $2,000) may have been around 34 percent per annum. But, there is another way of looking at this. If we put $14,400 actual return from the sale into a calculator at usinflationcalculator.com, we find that this sum equals $9,499 in 1996 dollars. Over 18 years, the real/uninflated annual rate of return for this investment, was about 26 percent. Koons’ Balloon Dog (Red) was a very good investment no matter how it is calculated, but not as stunning as it may first appear.
Only a few lucky investors had the foresight – or available cash – a couple of decades ago to invest in a work by Jeff Koons or one of his colleagues who now happen to top the art index. It is a question of predicting future demand for the works or a particular artist.
Currently, 68 percent of contemporary works sell at auction for under $7,000. They are not the works of so-called “market leaders.” Consider a single work, chosen more or less at random, as an example – a 10-inch X 96-inch oil on canvas, Lamay Bridge, (1987) by the American artist Woody Gwyn (b. 1944). In February 2010, it sold at auction in San Francisco from the collection of a law firm, fetching $4,575. Subtracting the 25 percent buyer’s premium, the return to the seller was $3,432. Because this work was part of a large consignment by the law firm, the auction house seller’s commission was probably discounted to around 10 percent. The law firm likely received in the vicinity of $3,089 from the sale of this work that was originally acquired in 1987 from a Santa Fe gallery. The price at the time might have been about $500. The difference between the book value of the artwork and the return from its sale ($3,089 – $500) shows a $2,589 capital gain. The annual rate of return on investment was in the range of 23 percent. But, when we put the $3,089 return from the sale of the work into an inflation calculator, this sum is equivalent to $1,609 in 1987 dollars. Subtract the cost of acquiring the work originally and the uninflated gains from the purchase are $1,109, or ($1,109/22 years) $50 per annum or 10 percent.
These two examples show the differences in return on investment. If a collector with a small budget is lucky – or clever enough – to acquire a work by an emerging artist who eventually rises to the top of the market, the rewards can be substantial. This applies equally to investment in works by skilled artists who do not achieve a mega-star status. In both cases, the risk must be considered in relation to a best guess at future demand and the potential rate of return.
The good news must be tempered with an important warning. All the statistics on which art market trends are calculated are based on actual public sales. No one reports on the huge number of works that are put up for auction and fail to find a buyer. Depending on the prevailing economic conditions it is not unknown, for as many as half the works in a sale to be bought in or remain unsold.
In the art market, statistical trends are an imperfect guide at best. They are not of much use in helping an art investor determine risk. In the case of the acquisition of art for investment purposes, the eye is invariably mightier than the math. Even if capital gains are not forthcoming, a well-chosen work will delight the owner. There is no way to put a monetary value on this, so it’s not subject to the vagaries of statistical analysis." - source ArtAscent, 1st of February 2016
Furthermore there is even more distortion in the auction process particularly with Sotheby's not only engaging in "vendor financing" but, as well paying some buyers to bid on its artwork as reported by Bloomberg by Katya Kazakina on the 10th of June in her article entitled "Sotheby’s Is Paying Buyers to Bid on Its Artwork":
"Sotheby’s was in a bind. The auction house had won several top consignments for its bellwether spring auction, including a Jean-Michel Basquiat that sold for $7.4 million four years ago, by guaranteeing the sellers minimum prices.
But as volatile financial markets sent jitters through the art world, Sotheby’s faced the prospect of owning the work if it failed to sell. In the weeks leading up to its May 11 auction, the company began pitching a new perk to potential buyers: a fixed fee to those who agree, before the auction even starts, to make at least a minimum bid. The new incentive helped Sotheby’s find buyers for guaranteed pieces.
Sotheby’s is joining Christie’s in offering the fees to buyers, whose private deals sometimes undercut the notion of a public auction market. Sotheby’s previously resisted the incentive on concerns it would reduce profit and price transparency. The auction house’s change of heart comes after new Chief Executive Officer Tad Smith reshuffled the ranks of managers and specialists and brought in a former top Christie’s executive. The company’s shares have lost about a third of their value in the past year.
Sotheby’s change “makes them more competitive on the financial side with Christie’s,” said Thomas C. Danziger, a partner in Danziger, Danziger & Muro LLP. “In the current climate, every advantage that you can have helps the bottom line. Stupid money is not flowing in the ways it might have 12 to 18 months ago.” Sotheby’s declined to comment for this story.


The new perk in Sotheby’s arsenal of incentives, disclosed in catalogs in April, sweetens the deal for investors who agree to step in as buyers of last resort. In the past, so-called irrevocable bidders were compensated with a part of the auction house’s sales commission only if another buyer purchased the artwork that they had backed. Now, by opting for a fixed fee, they are guaranteed a payout and can get the artwork effectively at discount.
‘Onion Gum’
The new approach reduces the risk that Sotheby’s ends up with too much artwork in its inventory -- a concern particularly in a slowing market. But as the May 11 auction showed, the company can still lose money.
“Onion Gum” was one of four works in that sale consigned by hedge fund manager Daniel Sundheim. Sotheby’s gave him undisclosed guaranteed prices for the paintings, and in the weeks before the auction, it lined up irrevocable bidders for the four pieces.
The Basquiat sold for $6.6 million, net of the fee paid to the mystery buyer, who was the only bidder. That was less than the guarantee to Sundheim, according to a person familiar with the matter, leaving Sotheby’s with a loss on the painting.
Transparency Concerns
Sotheby’s lists the price net of fees paid to such buyers, making it possible to estimate the fee that the company doesn’t disclose. The buyer of the Basquiat work received $258,000, based on Sotheby’s standard sales commission.
The company argues this form of disclosure is more transparent, because the fee paid to the irrevocable bidder works like a discount. Christie’s does not adjust for such fees in its reporting of final prices.
Christie’s declined to comment. The fees are “a separate transaction to the sale, reflecting the risk the third party has taken in relation to the minimum price guarantee,” the company says on its website.
Sotheby’s is offering the new incentive to investors after it took a loss on a $509 million guarantee on the collection of its former chairman A. Alfred Taubman and had to take possession of $33 million of unsold artworks last year.
Like ‘Steroids’
Auction guarantees have proliferated since the financial crisis, covering half of the $2.1 billion of art in November’s semi-annual auctions in New York. Since then, the number of guarantees at Sotheby’s and Christie’s has fallen as the market slowed. Art adviser Todd Levin says guarantees act like "steroids" in the market by presetting bids often at artificially high levels.
David Nash, a co-owner of Mitchell-Innes & Nash gallery in New York, says irrevocable bids are part of financial machinations that distort the art market. When highly valued works with prearranged bids come up for auction, in many cases there is no genuine bidding and they are bought by the guarantors, he said.
That’s what happened with Roy Lichtenstein’s "Nurse," which was purchased in November at Christie’s for $95.4 million -- an auction record for the artist that was 70 percent higher than the previous high two years earlier.
“It’s a sale agreed in private to take place in public and pretend it’s an auction,” said Nash." - source Bloomberg.
So if you think that only central banks are "manipulating" markets, think again. Having "auctions" rigged through this "new process" makes us indeed afraid of the "Noise of Art". We disagree with Bloomberg in the sense is that this new approach in no way reduces the risk that Sotheby’s ends up with too much artwork in its inventory - a concern particularly in a slowing market. On the contrary "rising leverage", "rising inventory levels", "rising vendor financing" in conjunction with this new process makes us even more worry of the consequences in a market where volumes have been falling significantly. Whereas it is difficult to "time" the consequences of "easy money" and "market manipulations" (even in the art market), we do not think it is different this time and the weaker credit rating of Sotheby's make us wonder if now the time is not right to start thinking again about shorting both the bond and the stock in the near future...

This brings us to the second point of our conversation, namely that not only the art market risk facing a "soft patch" but "classic cars" who have enjoyed "stellar returns" for the savy and wealthy investors are beginning to show sign of slow down and price revisions.

  • Macro and Credit  - Classic cars? Downshifting...
While active use of engine braking (shifting into a lower gear) is advantageous when it is necessary to control speed while driving down very steep and long slopes, the latest slope of the US economy in particular and the global economy in general makes us wonder if indeed the "down trend" is not your friend. 

For the last couple of months we have made an interesting, yet entertaining exercise of building up a "virtual garage" made up of "classic cars" of interest and monitored on an ongoing basis their valuation by using the website "mobile.de". What we have noticed since we added a few cars since April in our "virtual garage" is some interesting price revisions taking place. For instance, one of the most recent car added to our garage was a Ferrari 250 GT Lusso which we parked on June 7th, to the price of: 1,712,000 EUR seeing the car's price today coming down to 1,689,000 EUR. Another interesting price revision on a downtrend was for an Aston Martin DB6 which we parked on April 17, 2016 at the price of 415,000 EUR and which is now being offered at 365,000 EUR. Some of the most striking price revisions were for some more recent Ferraris we must admit such as a restored Ferrari 330 GT 2+2 we parked on April 5 at the price of 339,000 EUR which is now being offered at 239,000 EUR. There was as well a 1971 Ferrari Dino GT4 246 GT SERIE M parked also on April 5, 2016 at a price of 490,000 EUR, now offered at a revised price of 399,000 EUR. Rarities such as 1955 Mercedes-Benz 300 SL CoupĆ© Gullwing are still commanding an impressive 1,600,000 EUR price tag and are yet to show any price revisions at the moment.

While it is difficult to come to any clear conclusion from such a small sample, the website "Hagerty" enables us to have a broader and clearer picture of the downward trend for classic cars in the US. The Hagerty Market Rating uses a weighted algorithm to calculate the strength of the North American collector car market. The Hagerty Market Rating is expressed as a closed 0-100 number with a corresponding open ended index (like the DJIA or NASDAQ Composite). The Hagerty Market Rating measures the current status of the collector car market in terms of activity or “heat”; directional momentum; and the underlying strength of the market:
"How it Works:
Each individual component of the Hagerty Market Rating is comprised of a number of individual measures, with each measure being scored on a scale of 0-100. Each component’s individual measures are combined into a “weighted average” based on how indicative the measure is of market status, which results in the overall score for each component of the Hagerty Market Rating. Like the rating for the individual components, the overall Hagerty Market Rating is a weighted average of the eight components’ individual scores, with those measures that are a more correlative of the market’s status treated with more preference in the algorithm.
Therefore, in order to calculate the overall Hagerty Market Rating, each component’s score must be calculated, which in turn requires that each individual measure’s 0-100 score must first be determined. To do this, we calculate each measure’s current performance against its historic performance. Scores for any measures that are based on dollar amounts are calculated using inflation-adjusted values relative to 2014 dollars. The resulting scores are then combined according to their predetermined relative weights for a final number.
For all measures, components, and the overall Hagerty Market Rating, a “bell curve” type distribution is expected, with 0 falling on the far left, 100 falling on the far right, and 50 landing at the curve’s peak. Because of this, the rating is more fluid in 40-60 range, and much more difficult to move at the rating’s extremes." - source Hagerty
Right now the reading for June 2016 according to Hagerty is down to 69.01:

  • Following a very slight increase last month, the Hagerty Market Rating is down to 69.01 for June.
  • While last month marked the largest increase of 2016 in the auction channel, auction activity instead saw its largest decrease so far this year for June and is currently at a 33-month low.
  • Private sales activity fell for the third consecutive month. Over the last 12 months, the average private sale price has fallen 10 percent and the percent of vehicles selling for above their insured values has fallen 1.4 percent.
  • Requests for insured value increases for braod market vehicles declined for the ninth consecutive month.
  • Requests for insured value increases for high-end vehicles fell for the second consecutive month and are at a 15-month low.
  • Correlated instruments saw an increase for the second time this year, as the price of gold per ounce fell and the S&P 500 passed 2,100 forthe first time since November 2015.
  • May's reported rating was revised from 69.35 to 69.17 due to newly released inflation numbers." - source Hagerty
What we find of great interest is the "Cantillon effect" and the significant rise in price appreciation for classic cars which can be directly link we think to our central bankers generosity and their "dear wealth" effect and balance sheet expansion. In similar fashion it had an impact in art prices and equities indices we think:
"The Hagerty Market Index is an inflation adjusted open ended index (similar to the DJIA or NASDAQ Composite) based on change in dollars and volume of the market. 
- source Hagerty

The all-time high was reached in September 2015 whereas the Dow Jones Industrial Average reached an all time high of 18312.39 in May of 2015.

On a continuation to our "little" personal entertaining exercise we did notice on Hagerty that the hottest part of the market in the US namely classic Ferraris is experiencing a slowdown:
"The Hagerty Price Guide Index of Ferraris is a stock market style index that averages the values of 13 of the most sought after street Ferraris of the 1950s-70s. The graph below shows this index’s average value over the past five years. Values are for #2 condition, or “excellent” cars.

As the top of the market moves, so moves the Hagerty Ferrari Index. This group of cars performed similarly to the Blue Chip Index in that it recorded its first drop since September 2009 and in that the drop was also a nominal 1% slip. None of the index’s 13 component cars increased in value—the first time since May 2009 that this has happened—which is remarkable considering Ferrari has hands down been the hottest part of the market for half a decade.
In particular, softness was exhibited for some of the biggest movers of the past two years, as these models find new footing following a rapid run up. The Lusso dropped by 9%, the 275 GTB/4 fell by 8%, and the Daytona Spyder lost 9%. Over the past 12 months the 330 GTC is the loss leader with a 10% decline in value.
This may be bad news for anyone who bought a car in the last 6 months expecting to sell for a quick return, but will likely be of little concern to an end user. Looking through a longer lens, the most sluggish of the bunch over the past three years—the Dino—has still gained more than 50% in value and it is unlikely to retreat back to pre-2013 numbers. -Brian Rabold, May 2016" - source Hagerty
Could the Dino retreat back to pre-2013? Us not suffering from "Optimism bias" and being as you know by now "contrarians" would beg to differ. So overall, not only are we afraid of the "Noise of Art" but we are also very wary of what the "Ferrari index" has been doing as of late.

  • Final chart: Classic cars have been "turbocharged" 
Our wariness of the latest trend in "classic cars" and the recent slowdown warrants close monitoring we think from an "alternative" macro perspective. The chart below comes from the latest Knight Frank Classic car special Luxury Investment Index review for Q1 2016 and clearly index the significant performance reached overall by classic cars:
Classic Car performances relative to other "tangible asset classes":

"Classic cars were once again the top performing luxury asset on an annual basis, according to the latest figures from the Knight Frank Luxury Investment Index (KFLII).
While the overall value of KFLII increased by just 5% in the 12 months to the end of March 2016 – the lowest annual increase since the first quarter of 2010 – cars outperformed with a 17% surge.
Wine saw the second strongest growth, up 9%, with coins in third position, rising 6%. Art and furniture were the biggest losers, dropping by 5% and 6%, respectively." - source Knight Frank
To quote one of the recurrent themes of our friends at Gavekal research, it has “never been so expensive to be rich” particularly if you want to snap up a classic Ferrari it seems. Kudos to our central bankers and their obsession with the "wealth effect":
"As most of our readers will know, modern art, fine wines, & horses, are assets that tend to peak just before the start of a pronounced downturn of the economic cycle. And interestingly, over the past couple of months, these assets have really been shooting up, breaking several records on the way" - source Gavekal, July 20th 2006.
History does indeed rhyme and we must confide that at this stage of the "credit cycle", we are afraid of the Noise of Art given back in 2006 our Gavekal friends indicated the following:
 "Usually, the last thing to go up in prices are rare automobiles" - source Gavekal Five corners, July 20th 2006.
This time it's different? We don't think so.

"The stock market is filled with individuals who know the price of everything, but the value of nothing." - Philip Arthur Fisher
Stay tuned!

Sunday, 10 November 2013

Credit - Squaring the Circle

"Evolution has long been the target of illogical arguments that use presumption." - Marilyn vos Savant 

While listening to Olli Rehn's recent comment relating to Greece, and seeing France's latest rating cut to AA, with aggravating industrial production pointing to a weaker GDP going forward, we reminded ourselves of the famous problem proposed by ancient geometers for this week's chosen title namely "Squaring the Circle".

“I’m sure that we will be able to find a satisfactory solution as regards to how to ensure the fiscal gaps will be filled and the fiscal targets will be met.” - Olli Rehn

The different steps taken to resolve the inadequacies of the euro have been strikingly similar with the problem proposed by ancient geometers, namely "Squaring the Circle" being the challenge of constructing a square with the same area as a given circle by using only a finite number of steps with compass and straightedge.

Although in 1882, the task was proven to be impossible, as a consequence of the Lindemann-Weierstrass theorem proving that pi is transcendental, rather than an algebraic irrational number, it did not prevent an amateur eccentric crank by the name of Dr. Edwin J. Goodwin to try to brace mathematical immortality by trying to have the legislature in Indiana in 1897 to redefine the value of pi through House Bill 246! We kid you not. It would have enabled the brave Dr Goodwin to solve the aforementioned problem of "squaring the circle".

In similar fashion to the brave Dr Goodwin, our European politicians such as Olli Rehn are trying to finalize the construction of the Euro through a "finite number of steps", and on that note we think about the upcoming AQR (Asset Quality Review) and the willingness of European politicians to secure the creation of a European Banking Union, through legislature.

By that point you are probably asking yourselves where we are going with all this but, our fondness for behavioral psychology reacquainted us with one of our past quote following our "Generous Gambler" aka Mario Draghi latest rate cut stunt:
"The greatest trick European politicians ever pulled was to convince the world that default risk didn't exist" - Macronomics.

In this week's conversation we will focus our attention once more on Europe and the impossibility of "Squaring the Circle" even through European Banking Union.

Our European "deceiver in chief" has pointed out the improving credit conditions in the money multiplier - graph source Bloomberg:
"ECB President Mario Draghi noted in comments following a rate cut that euro zone fragmentation had been improving from mid-2012, though progress halted three to four months ago. This echoes a north-south divide in wholesale bank funding costs that has again widened. Further, the money multiplier demonstrates how the flow of credit had begun to improve from mid-2012. September's 7.7x figure is the first month in a year that the multiplier has contracted." - source Bloomberg.

The issue of course is that, given the pending AQR, the Euro zone contraction in excess liquidity could no doubt counter the wishes of our European "generous gamblers" we think - graph source Bloomberg:
"Excess liquidity in the euro zone bank system is considered tight when below 200 billion euros ($267 billion) and a sustained period below this level has driven interbank rate increases in prior cycles. Even as the ECB has cut its main refinancing rate, which may lead to a steeper yield curve and income boost for some banks, an increase in wholesale funding costs could offset this. Euro zone excess liquidity may also fall as banks withdraw ECB deposits to reduce leverage."  - source Bloomberg.

Arguably what has been most beneficial as of late for European exporters has indeed been the proverbial "sucker punch" delivered by the surprise rate cut by the ECB on Thursday to 0.25% on the Euro currency versus the US dollar - graph source Bloomberg:

But, we have long argued that the previous LTROs amounted to "Money for Nothing". The latest round of "generosity" courtesy of the rate cut by the ECB will only favor more of the same, namely more carry trades for peripheral banks which have been gorging themselves with government bonds from their respective countries with the help of the two previous LTROs as displayed by the below Bloomberg table:
"A fringe benefit from today's ECB rate cut, beyond signaling an aggressive stance and longer-term low-rate environment, may be a steepening of the yield curve. Regionally, at 10.2% of bank-system assets, Italian banks have the greatest sovereign-bond exposures with 422 billion euros ($564 billion). They are followed by Spanish lenders at 312 billion euros (9.5% of assets) as at the end of September. Any steepening may benefit interest income." - source Bloomberg.

So we think that the willingness through "legislature" in severing the link between European sovereigns and their respective financial institutions amounts to "Squaring the Circle" in true Dr Goodwin fashion hence the path for this week's chosen title.

Throughout our numerous conversations, we have argued about the deflationary forces at play and the raging battle attempted by central bankers to ward off the threat of deflation. It is a losing battle we think when one looks at the crumbling inflation in Europe as displayed by Bloomberg Chart of the Day from the 6th of November:
"The CHART OF THE DAY shows the five-year consumer-price swap rate declined to 1.34 percent on Nov. 1. That’s within one basis point, or 0.01 percentage point, of the level reached in June last year, which was the lowest since December 2008 and was followed by a 25-basis point reduction in the ECB’s main refinancing rate the following month. Reports today showed euro-area services output rose in October and German factory orders increased in September. “Despite the recovery, there’s still a lot of slack in the euro-zone economy,” said David Mackie, chief European economist at JPMorgan Chase & Co. in London. “If the ECB doesn’t respond to falling prices, people will worry about its commitment to meeting its medium-term objectives. The risk is that inflation expectations will fall further and create problems for them.”" - source Bloomberg.

For those who have been following us, you know that like any good cognitive behavioral therapist, we tend to watch the process rather than focus solely on the content. As we indicated in our conversation "The Dunning-Kruger effect": 
Not only do our central bankers suffer from the Dunning-Kruger effect but they are no doubt victim of the well documented "optimism bias" which we discussed in our "Bayesian Thoughts" conversation:
"Humans, however, exhibit a pervasive and surprising bias: when it comes to predicting what will happen to us tomorrow, next week, or fifty years from now, we overestimate the likelihood of positive events, and underestimate the likelihood of negative events. For example, we underrate our chances of getting divorced, being in a car accident, or suffering from cancer. We also expect to live longer than objective measures would warrant, overestimate our success in the job market, and believe that our children will be especially talented. This phenomenon is known as the optimism bias, and it is one of the most consistent, prevalent, and robust biases documented in psychology and behavioral economics."
Tali Sharot - The optimism bias - Current Biology, Volume 21, issues 23, R941-R945, 6th of December 2011.

When it comes to "optimism bias", the surprised rate cut by the ECB was indeed a proper demonstration given only 3 out of 70 economists had predicted a rate cut of 0.25% on Thursday but we ramble again...

After all, one only need to look at the German 2 year yield to realize that credit wise Europe is indeed turning Japanese. It's D,  D for deflation. German 2 year notes versus Japan 2 year notes indicative of the deflationary forces at play we have been discussing over and over again - source Bloomberg:
Credit dynamic is based on Growth. No growth or weak growth can lead to defaults and asset deflation which is what we are seeing in Europe and what a 0.7% inflation rate is telling you hence the ECB rate cut this week. It is still the "D" world (Deflation - Deleveraging).

As pointed out previously by our friend Martin Sibileau (who used to blog on "A View From The Trenches"), here is a reminder from his work which we quoted in our conversation "The law of unintended consequences" in Macronomics on the 25th of January 2012:
"With a more expensive Euro, Germany is less able to export to sustain the rest of the Union and growth prospects wane. At the same time, the private sector of the EU looks for cheaper funding in the US dollar zone, which will eventually force the Fed to not be able to exit its loose monetary stance."  - Martin Sibileau

Europe's horrible circularity case - Martin Sibileau

By tying itself to Europe via swap lines, the FED has increased its credit risk and exposure to Europe:
"If the ECB does not embark in Quantitative Easing, the Fed will bear the burden, because the worse the private sector of the EU performs, the more dependent it will become of US dollar funding and the more coupled the United States will be to the EU." - Martin Sibileau

As a side note and in relation to the EU private sector seeking USD funding as displayed in Martin's chart above, in 2012 over a third of the US Investment Grade supply (net issuance in $430 billions) was from non-US issuers up from 25% in 2011. This year we have seen about a third of the new issuance from non-domestic issuers (estimated net issuance for 2013 $400 billions).

As we have argued in "Mutiny on the Euro Bounty" in April 2012:
"More downgrades mean more margin calls, more margin calls means more liquidation and more Euros being bought and dollars being sold, with a growing shortage of AAA assets, Europe is moving towards mutiny on the Euro Bounty ship..."

Unless of course Mario Draghi goes for the nuclear option, Quantitative Easing, that is.

And as indicated by Martin Sibileau from his note from the 17th of October "The EU must not recapitalize banks":
"The circular reasoning therefore resides in that the recapitalization of banks by their sovereigns increases the sovereign deficits, lowering the value of their liabilities, generating further losses to the same banks, which would again need more capital."

What would be a solution for the EU? We have repeatedly said it: Either full fiscal union or monetization of the sovereign debts. Anything in between is an intellectual exercise of dubious utility."

When it comes to the growth divergence between the United States and Europe ("Growth divergence between US and Europe? It's the credit conditions stupid...", it is all about Stocks versus Flows. We posited the following in various conversations:
"We mentioned the problem of stocks and flows and the difference between the ECB and the Fed in our conversation "The European issue of circularity", given that while the Fed has been financing "stocks" (mortgages), while the ECB is financing "flows" (deficits). We do not know when European deficits will end, until a clear reduction of the deficits is seen, therefore the ECB liabilities will have to depreciate."

As the ECB approaches the zero bound boundary in its "easing" process, the only tools left will of course will have to be "unconventional" as pointed out in our conversation "Fears for Tears" in August:
"Should Mario Draghi feel the urge to trigger is "nuclear" device, it will have to be "Brighter than a Thousand Suns", to quote, J. Robert Oppenheimer...
Oh well..."


The interesting issue as of late when it comes to the AQR and banks recapitalization in Europe is that Germany firmly opposes the use of the ESM for that specific purpose. Excluding the ESM from financing the winding down of troubled banks will raise the problem of a financial backstop for the SRM (Single Resolution Mechanism), possibly delaying its proper operation for years, which from our point of view is interesting as we think that Germany in the end will be the country putting the nail in the coffin for the Euro experience as we indicated in our conversation "Eastern promises" on the 9th of June:
"We think the breakup of the European Union could be triggered by Germany, in similar fashion to the demise of the 15 State-Ruble zone in 1994 which was triggered by Russia, its most powerful member which could lead to a smaller European zone. It has been our thoughts which we previously expressed."

Squaring the Circle cannot be solved and the vicious cycle of banks and sovereigns cannot be solved either by a European Banking Union on its own.

Angela Merkel in this "Game of Century", while only appearing to be making material sacrifices, has managed to keep most of Germany's liabilities unchanged. So delaying the proper operational prospects for the SRM is in fact the application of what we said in our Chess analogy used in our "Game of Century" conversation in July 2012:
"In respect to the recent European summit, if European countries such as Italy, Spain and France gang up on Germany and ask for material changes in the rules and treaties of the "chess game" being played, we believe that "the only possible Nash equilibrium for Germany will be to defect""

Interestingly, Ambrose Evans-Pritchard from the Telegraph, in his article from the 4th of November entitled "Italy's Mr Euro urges Latin Front, warns Germany won't sell another Mercedes in Europe" reported on possibility of "Mutiny on the Euro Bounty":
"The plot is thickening fast in Italy. Romano Prodi – Mr Euro himself – is calling for a Latin Front to rise up against Germany and force through a reflation policy before the whole experiment of monetary union spins out of control.
"France, Italy, and Spain should together pound their fists on the table, but they are not doing so because they delude themselves that they can go it alone," he told Quotidiano Nazionale
Should Germany persist in imposing its contractionary ruin on Europe – "should the euro break apart, with one exchange rate in the North and one in the South", as he puts it – Germany itself will reap as it has sown. "Their exchange rate will double and they will not sell a single Mercedes in Europe. German industrialists know this but all they manage to secure are slight changes, not enough to end the crisis."" - source The Telegraph.

As a matter of fact funding for the ESM is capped at 700 billion euros and Germany is responsible for contributing about EUR190 billion by next April to the program but there is a snag. While the German Constitutional court has no legal authority on the ECB, it does have authority over the German parliament when it comes to committing German money to European programs (ESM and OMT included) given a debt of the ESM is a contingent liability of all the non-bailed out Eurozone countries.

As far the "optimism bias is concerned, a majority of analysts believe the German Constitutional court will allow the OMT to stand on the basis that EU treaty allows for purchases in the secondary bond market. We beg to differ. 
Once a debt is a contingent liability, for instance "super senior" there is no turning back, but the ESM being capped and the OMT yet to be firmly backed by Germany, the nuclear option is still an option rather than a reality.
We quoted Dr Jochen Felsenheimer in our conversation "The Unbearable Lightness of Credit" in August 2012, let us do it again for the purpose of the demonstration:
"The advantage of explicit guarantees is that the market can value them and that the guarantee can be taken up - even in a crisis! For this reason, we can quote the "last man standing" at this point, the president of the German Federal Constitutional Court, Andreas Vosskuhle:"The constitution also applies during the crisis". That is a hard guarantee, both for politicians and for investors!"


We will not discuss the issue of implicit guarantees and explicit guarantees from a credit valuation point of view as we have already approached this subject in our conversation quoted above. The only point you should take into account is that the advantage of explicit guarantees is that markets tend to "function" better under them. Obviously our great poker player "Mario Draghi" at the helm of the ECB has played with his OMT a great hand but based only on "implicit guarantee". That's a big difference.

An illustration on how distorted market can become when taking advantage of "explicit guarantees" has been the European car industry. We have extensively covered the subject as an illustration of the deflationary forces at play back in April 2012 in our conversation "The European Clunker - European car sales, a clear indicator of deflation" for those of you who would like to go deeper into the analysis. More recently, the effect of the latest Spanish Cash-for-Clunkers to support 70,000 new cars is illustrative of "explicit guarantees" we think as pointed out in the Bloomberg table below:
"Spain plans to support 70,000 new-car purchases under the fourth cash-for-clunkers scheme it has introduced in a year. Buyers will get 2,000 euros ($2,700), evenly funded by the government and dealer, when trading in a car between seven and 10 years old, and buying a new, more fuel-efficient vehicle costing up to 25,000 euros. Spanish auto sales through September were 51% below the average for the same period in 2000-07." - source Bloomberg.

Markets being extremely feeble creatures in the face of uncertainty will obviously react "rationally" when it comes to being provided with "explicit guarantees".

Obviously the lack of German Constitutional support could indeed prevent the whole "whatever it takes" European moment from moving from the "implicit guarantees" towards more "explicit guarantees" we would argue.
As pointed out by Bloomberg editors in their column from the 6th of November 2013 entitled "Europe's unfinished business threatens another recession",the European Banking Union is a must have. For us Europe is just trying to "Square the Circle:
"The most important stalled reform is in banking. Another round of bank “stress tests” has just been announced -- and this time, the ECB says, it’s serious. But there’s still no agreement on what happens to the banks that fail the tests. It’s universally agreed that the euro area needs not just a single bank supervisor -- which it now has in the form of the ECB --but also a single bank-resolution mechanism. That won’t fly, because Germany and like-minded countries won’t hear of bailing out failing banks or their financially stressed national governments.
This reluctance is understandable. But without a single bank-resolution mechanism, the euro project remains fatally flawed. The toxic link between distressed banks and distressed governments will remain. So long as that’s true, recovery will be held back and the euro area’s supposedly integrated capital market will be at risk of further splintering into separate zones. If the euro is to survive and its member countries prosper, a real banking union is indispensable." - source Bloomberg

The crux lies in the movement needed from "implicit" to "explicit" guarantees which would entail a significant increase in German's contingent liabilities. The delaying tactics so far played by Germany seems to validate our stance towards the potential defection of Germany at some point validating in effect the Nash equilibrium concept. We do not see it happening. The German Constitution is more than an "explicit guarantee" it is the "hardest explicit guarantee" between Germany and its citizens. It is hard coded. We have a hard time envisaging that this sacred principle could be broken for the sake of Europe.

On a final note, and in relation to "markets" going forward, in our conversation "The Cantillon Effects", we indicated of one of our "outside the box indicator" namely Sotheby's stock price versus world PMIs since 2007 - graph source Bloomberg:
We have argued that the performance of Sotheby’s, the world’s biggest publicly traded auction house was indeed a good leading indicator and has led many global market crises by three-to-six months.

It was interesting to see Sotheby’s stock price being down as much as 4% on the 6th of November, most intraday since Aug. 7, to lowest since Oct. 15, on 71% avg 3-mo. vol. as other auction house Christies flopped for a second consecutive night on the 6th of November in New-York with top-priced lots by Picasso, Modigliani and Leger failing to find buyers as reported by Bloomberg by Katia Kazakina and Philipp Boroff:
"Last night’s sale “also suffered from overestimation on several of the top lots,” said art adviser Mary Hoeveler. “Buyers don’t need to be told when something is a ‘masterpiece.’”
Alberto Giacometti’s portrait of his brother Diego, estimated at $30 million to $50 million, didn’t attract a bid in the room or on phone banks.
The painting was guaranteed by an undisclosed third party before the sale and the guarantor took it home for $32.6 million, a record for a Giacometti painting. Prices include commissions. Estimates do not.
The 1954 piece was sold by Jeffrey Loria, an art dealer and owner of the Miami Marlins baseball team, according to a state regulatory filing." - source Bloomberg.

So there you go the "explicit guarantee" did indeed lead to a sale in the end for Giacometti's portrait of his brother Diego, but we would not call this a "functioning market", somewhere, somehow someone took a hit.

As pointed out by our friend Cameron Weber in our conversation  "The Cantillon Effects", using art as a reference market in describing Cantillon effects and asset bubbles if of great interest as per his presentation entitled "Cantillon effects in the market for art":
"The use of fine art might be an effective means to measure Cantillon Effects as art is removed from the capital structure of the economy, so we might be able to measure “pure” Cantillon Effects.

This is as well confirmed by our good friends at Rcube Global Macro Asset Management in their recent monthly review:
"The Art market has always been an interesting indicator. The only major public auction house is Sotheby's since its floatation in the mid-1980s. It has proved a timely indicator of potential global stock markets reversal.
Whenever its price reached 50 or so with sky high valuations, a reversal was not far away. We can also take notice of the extremely weak jewelry and contemporary art auctions recently."

"To acquire knowledge, one must study; but to acquire wisdom, one must observe." - Marilyn vos Savant, American writer

Stay tuned!
 
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