UK to Standardise Auction Data as Sector Unites Behind New Trade Body

The UK is preparing to introduce a system to standardise the recording of auction sales for art and antiques. This move is intended to provide data and statistical evidence of the auction sector’s output, with art professionals expressing hope that it will help the government better understand and appreciate the impact of the UK’s art industry. The new Standard Industrial Classification code, known as UK SIC 47.921, will specifically encompass the activities of retail auctioneering houses for artworks, antiques, and antiquities.

Although the new SIC code is not expected to come into use until 2031, it is seen as an important step forward in recognising and increasing the visibility of the sector’s economic contribution. The implications of this change are expected to extend beyond any single political cycle, suggesting a long-term impact on how the sector is perceived and supported.

The announcement of the standardisation initiative coincided with discussions among art professionals about the need for a new association or body for the visual arts. This proposed organisation would aim to bring together representatives from both the commercial and public sectors, fostering greater unity within the industry.

During a panel moderated by The Art Newspaper’s art market editor-at-large Melanie Gerlis, participants included Paul Hewitt, director general at the Society of London Art Dealers; Alison Cole, Director of The Cultural Policy Unit and The Art Newspaper’s editor-at-large; and Tom Kiehl, chief executive of Music Limited. The panel focused on the call for a new association to represent collective interests.

Paul Hewitt emphasised that the proposed new body would not replace existing trade associations and organisations across the public and commercial functions of the visual arts. Instead, its purpose would be to amplify the impact and evidence across the sector, strengthening the industry’s collective voice.

Alison Cole highlighted the importance of the arts being able to communicate as an ecosystem, with one voice around collective interests, especially given the limited opportunities to present information to government officials. She also noted the potential value of having a high-profile public figure or ambassador to champion the visual arts, referencing the influence of similar strategies in the music and sport industries.

The panel’s conversation reflected broader calls for greater support of the industry, including the need for sustainable business models for artists, new approaches to philanthropy, and discussions about how advances in AI could improve efficiency and security for businesses and organisations facing increasing overheads and reduced funding. Hewitt concluded by describing the panel as a call to action, encouraging interested parties to contact CVAN to get involved.