How BullionArt came about

I actually had nothing to do with the stock market, economics or commodities. My world was art. I studied graphic design and worked for many years in an art gallery. My father, Reinhard Deutsch, was a silver expert and wrote about silver in numerous forums. He wanted me to get involved in the precious metals trade. Again and again. Each time I fended him off. Until one day, somewhat annoyed, I said: “If anything, I’ll make sculptures out of silver!” That is how the idea for BullionArt was born.

In November 2005 I stood at the very first precious metals fair in Munich. Three sculptures were the beginning: “Schlafvogel”, “Lips” and “Kekesmadonna”. My father was extremely well connected in the precious metals scene and knew about the event, which was originally planned as a forum meeting of the Goldseiten forum.

I studied graphic design at FH Darmstadt. Afterwards I worked for many years in an art gallery. That time shaped me. I learned how to look at art, how to place it in context, present it and explain it. Just as important was the exchange with collectors and art enthusiasts, answering their questions and sharing their enthusiasm. That experience still flows into my work at BullionArt today. A sculpture is more than a piece of precious metal in a beautiful form. It is a work of art with its own history, its own message and its own presence in a room. This is the perspective I want to pass on to my customers. During the first eight to ten years of BullionArt I successfully continued my work in graphic design. Having two mainstays was important to me, especially in uncertain times. Today I know: BullionArt is my life’s project.

My most important teacher in the world of precious metals was my father, Reinhard Deutsch. Sadly he died far too early, in 2007. The two intensive years we had together after founding BullionArt were formative. His book “Das Silberkomplott” helped me to understand the wider economic context surrounding silver. The rest I learned on the job: by making mistakes and learning from them.

The precious metals dealer sells bars. Often plain in appearance, but with a clear material value. The classic art gallery sells art, mostly on canvas or cast in bronze. There, material value hardly matters. With sculptures made of pure fine silver 999, BullionArt now brings these two contrasting worlds together: the investment value of the precious metal is united with the intangible value of art. My personal guiding principle is simple: art instead of bullion. If you would like to learn more about the thinking behind this idea, I recommend my guide to silver as an investment as well as the comprehensive article on investing in art.

How do I choose the artists I work with? One hundred per cent on gut feeling. I travel to art fairs, I look around online, I visit studios. When I like a piece and sense that the work has the potential to become a silver sculpture, I approach the artist. Susanne Kraißer, for example, had her stand next to mine at ArtZurich. I liked her work so much that we began with two sculptures: the “Blumenmädchen” and the “Verspieltes Wildschwein”. Maximilian Verhas, on the other hand, I met at my foundry, where he has his bronzes cast. It was similar with Tomas Medek: I saw his bronze works there, was captivated, and was able to win him over for a collaboration. With some sculptures the commission came from me. The bulls, the bears, the koi carp, the gorilla and others were created in close consultation with the artists, because I wanted precisely those motifs in silver. Otherwise I select from an artist’s body of work whatever convinces me.

There are not many foundries that can cast fine silver. Sterling silver is considerably easier to work with. Fine silver, by contrast, is temperamental. It was pure luck that in 2005 we found an art founder with the necessary experience and craftsmanship. Ever since, I have had all of my sculptures cast there. Over more than two decades, absolute trust has grown. Every new sculpture is discussed together: hollow cast or solid cast, where it will become technically tricky, how it should be patinated. This close involvement with each individual work matters a great deal to me. It is one of the foundations of the quality that BullionArt stands for. You can also find out which grades of silver exist and why I consistently rely on fine silver 999 in my article on the question: Which silver is the best?

Over the years, the combination of art and precious metal has also attracted the interest of the business and financial press. This includes reports and mentions in the following media, among others:

• Handelsblatt: report on the Invest investor fair in Stuttgart, in which BullionArt is mentioned with the symbols “Bulle & Bär” and the combination of beauty and investment.
• Financial Times Deutschland, article “Zum Sammeln und Genießen”: a detailed presentation of the Munich gallery and the fine silver sculptures as a combination of artistic value and material value.
• Welt am Sonntag, “Silber in schönster Form”: background article on sculptures, watches and cutlery made of silver, in which the idea behind BullionArt is presented in detail.
• Frankfurter Allgemeine Zeitung: report from the Invest investor fair in Stuttgart, in which BullionArt is expressly highlighted for its high-quality silver art sculptures.

I have never applied for awards or industry prizes. My motivation has always been the thing itself: good sculptures, honest material quality, a relationship of trust with artists and customers.

What do I attach particular importance to? To everything. To the quality of the casting, to the care of the craftsmanship, to the authenticity of the silver. In the end it comes down to trust. I trust my suppliers of the renowned brands Degussa, Heraeus, Argor and Umicore that the silver is flawless. I trust my founder to handle the silver with care. And my customers trust me that everything they buy from BullionArt is exactly what they expect. This trust has grown over years and I nurture it every day. If you would like to know what else to look out for when buying silver art, read my guide to limited works of art as an investment as well as my article on 21 mistakes that investors should definitely avoid with silver.

My most important piece of advice is simple: only buy if you like the work of art. Then the joy remains, quite regardless of whether the silver price happens to be rising or falling. And if it rises, the pleasure is of course twofold. A silver sculpture is an emotional investment. It stands in the living room, in the study, on the desk. It is seen, contemplated and admired every day. Coins and bars lie hidden in the safe and add no aesthetic value. A sculpture, by contrast, becomes a companion. Take your time. Have a look at the various sculptures in fine silver. Talk to me if you have any questions. I am always happy to take the time to introduce you to the individual works and their stories.

When I am not occupied with silver and/or art, I visit art exhibitions, listen to business and stock market podcasts and follow what is happening on the markets. As a small side effect of founding my company, I began to take an interest in the economy, the stock market and shares. To this day. These worlds have captivated me, and they complement my passion for art in a very special way. I live and work in Munich, my adopted home – it is wonderful here. When I have time, I like to spend it with friends and my small family, do sport, and read a great deal. And sculptures from my own collection? I like every single one, otherwise I would not have had them cast. At the moment I take particular pleasure in the “Hermaphrodit” and the “Kleiner Minotaurus”. For me, both are emblems of what silver art can achieve: aesthetics that move you, combined with a material that endures.