Conversation with Howard Bilton
On Sovereign Art Foundation, collecting, and price transparency
Howard Bilton.
Howard Bilton is Founder and Chairperson of The Sovereign Art Foundation (SAF), which was established in 2003 together with Tiffany Pinkstone. SAF is a charity that focuses on projects which support disadvantaged children through art education and therapy. It also runs the annual Sovereign Asian Art Prize (2004-), which has expanded to Europe (2006-), Africa (2011-), as well as Middle East and North Africa (2016-). In this conversation, Howard shares his observations on philanthropy, business, and collecting.
The 2023 Sovereign Asian Art Prize Finalists’ Exhibition.
The Sovereign Asian Art Prize was launched in 2004, and aims to provide international exposure for Asian artists while raising funds for children art programmes. It was initiated at a time when visibility of Asian artists could be considered less than it is at present. What role do you see the prize serving today? And how do you envision the prize evolving in the near future?
In 2004, we were at the beginnings of an explosion of interest in Asian and Chinese art. That interest has, perhaps, fallen from its peak. The prize will continue to play its dual roles: to give Asian artists an additional platform for international exposure and to raise substantial funds which we can use to further the charitable aims of the Foundation, using art to assist disadvantaged children.
Every year the prize gets bigger and better. We hope to continue that upward trajectory, although conditions for raising money have become increasingly difficult. When we started, there seemed to be more corporate sponsors looking for publicity opportunities, willing to give us money to have their names attached to our various prizes. Similarly, when economic conditions are less favourable, private individuals and companies naturally tighten their belts somewhat and are less willing to make charitable donations. We continue to receive generous contributions from our support base. Some are feeling the pinch and have reduced the amount of those contributions. Yet it is precisely because of these difficult economic circumstances that there is greater need for our work with disadvantaged children, but less money available to carry it out.
The 2023 Sovereign Asian Art Prize Gala Dinner and Charity Auction.
In an interview with Ocula in 2016, you mentioned that the overheads of SAF are covered by The Sovereign Group and hence 100% of the funds raised on the night of the gala are channelled directly to the end user. What would you say to individuals or corporations who wish to become involved or begin their own art philanthropic initiatives?
The Sovereign Group, which lends its name to The Sovereign Art Foundation, is the headline sponsor and pays for SAF’s offices and staff costs. It is the Group’s main corporate social responsibility (CSR) contribution. A justified criticism of some charities is that more than 90% of money raised goes towards paying the organisation’s overheads. This is not the case with SAF.
I think it is important for anybody who wishes to start their own charitable initiatives that they carefully prepare a business plan. This is to ensure that they can raise substantially more money than it costs the charity to do so. If there are charities operating in a similar space, it may be better to cooperate with them rather than start another competing organisation and expand the overheads without achieving too much. When it comes to philanthropy, cooperation is generally going to be better than competition. Getting involved with an existing charity which already has a properly-funded infrastructure may work out better than starting something new.
When it comes to philanthropy, cooperation is generally going to be better than competition.
SAF’s flagship Make It Better programme provides children with special educational needs living in vulnerable communities access to expressive arts therapy, Hong Kong.
How do you evaluate SAF’s impact?
SAF partnered with the Centre on Behavioural Health, The University of Hong Kong, to carry out a three-year-long study on the effectiveness of our Make It Better (MIB) programme which helps children in Hong Kong. The 2017-2020 study showed that the effect has been dramatic and positive. MIB is the main recipient of the funds we raise in Asia, although we do give grants to other charities who share our aims.
Are there any lessons or skillsets from your experience as a tax lawyer and consultant which you think stakeholders in the art world can learn from?
Charities must necessarily be run efficiently along business lines. The major difference is that a charity does not have shareholders who are looking for a profit. Charities, like normal profit-making businesses, should be as efficient as possible and make best use of their resources. Charities can, and should, get people or companies to do things for free. There is a certain freedom in asking for favours which is denied to businesses. Charities should take full advantage of the available resources and one of the greatest is the people who are willing to give up their time and energy without charge. We are so grateful for the support of many people who have assisted SAF. I spend a lot of my time working on the affairs of SAF and try to lead by example by taking no remuneration. Arguably my time could more profitably be spent on my professional career, but the payback is the satisfaction obtained from helping others.
Craigie Aitchison, Crucifixion in a Landscape, 1996, oil on canvas, 90 x 75cm.
Sophia Noor, Untitled, acrylic on canvas, 150 x 100cm. Winning work for SAF’s 2025 Bahrain Students Prize.
What is one major moment or acquisition in your collecting journey? And how did it impact your understanding or attitude towards art?
The seminal moment when I became an art collector was when I saw my first substantive acquisition being signed and finished by the artist in his studio. It is a beautiful painting by Craigie Aitchison and it is still my favourite work. This piece started what became an obsession in collecting art which remains today, and it is the reason why I never have any money. It is all on the walls.
You are an advocate for price transparency, especially when it comes to contemporary art in the primary market. Could you briefly explain your rationale?
The art business is the only business in the world where it is difficult to establish the price of things which are for sale. I am certain that it puts off potential buyers. As more sales are moving online, reports suggest that galleries would have greater success and more interest if they transparently priced things when making offers. How can anybody buy something if they do not know the price? Yet, frequently, we are faced with the words “price on application”. It is unnecessary and counterproductive but the practice, although changing, still prevails and is deemed as a sort of badge of honour by some galleries. At times, galleries have persuaded artists this is a good idea, despite the fact that the lack of price transparency makes it less likely that works will sell. To me, it makes no sense and the evidence backs up this view.
The 2025 Sovereign Asian Art Prize Finalists’ Exhibition. Image courtesy of Phillips.
What are your thoughts when it comes to the notion of art being an “investment” with expectations of returns?
It is possible for art to become a good investment but my personal view is that you should buy art based on one criterion only: you love it. Most art has no resale value. The 50% commission for the gallery means the artwork must double in price before there is a possibility of a return. I think the investment side is overplayed. It is an investment in pleasure that you can get from looking at a piece of art on your wall for many years, and the pleasure rarely reduces due to familiarity. If the art goes up in value that should be viewed as a bonus. But why would anybody want to get rid of a piece of art they love?
The interview has been edited.