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The 97 lots in Sotheby’s winter auction on 16 August present a beautiful bouquet of some of Australia’s most revered artists.
The front and back cover alone are enough to make you swoon: you are greeted by Arthur Boyd’s “Moby Dick Hill” from 1949 (lot 9), and farewelled by Russell Drysdale’s “Boy with a Lizard”, 1966 (lot 7).
Not surprisingly, both made it into “Dave’s Faves”, and for everything in between, have a closer look at David’s selection.
If you have the opportunity, best view the paintings yourself in Melbourne from 2 to 6 August, at 41 Exhibition Street.
In Sydney, the viewing is held from 10 August to 16 August at 30 & 34 Queen Street, Woollahra.
The auction takes place on Wednesday, 16 August, 6.30 pm at the Intercontinental Hotel, 117 Macquarie Street, Sydney.
We will be attending the viewing and the auction on the night, and are available to assist you with independent due diligence and advice.
And Dave’s Faves are:
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writes Mark Kearny in the Bendigo Advertiser on 2 August 2017.
An eleventh hour donation from an anonymous white knight has saved the Castlemaine Art Museum from immediate closure, with the $250,000 gift ensuring its doors stay open for at least two more years.
About 400 members of the central Victorian gallery met at the Castlemaine town hall tonight to hear board chairwoman Jan Savage announce the last-minute reprieve.
All that is known about the anonymous donors is that they are a couple from central Victoria with family ties to the district and who were regular visitors to the gallery.
“We see this as an opportunity to secure the museum’s long-term future and develop it as a one of the premium provincial museums in Australia,” they said in a statement released on their behalf by Sotheby’s auction house.
Another $50,000 from the Macfarlane family was also offered to the 104-year-old gallery since it broke the news last month that rising costs and reduced revenue would see the venue shuttered.
The decision has shocked Castlemaine residents, including gallery life member Louise Smith, who said no one was consulted about the impending closure.
The art consultant’s family financially supported the gallery for almost one century and her father was the gallery’s president in the 1960s.
“We’re disgusted because there isn’t much else in Castlemaine to keep the town going,” she said.
Art Consulting Association of Australia president David Hulme said the two-year hiatus would leave a chasm in Castlemaine’s cultural landscape. Regional galleries were as central to their hometowns as the local RSL, Mr Hulme said, and gave people exposure to the arts they might not otherwise get.
“It’s a place to meet, a place to get a sense of cultural enlightenment,” he said.
The Sydney-based expert previously called upon the gallery’s collection for an exhibition of work from 20th century Australian impressionist, James Jackson. He loaned the Castlemaine gallery’s first ever acquisition, a 1916 landscape entitled Reflections.
Mr Hulme said council funds were needed for regional art galleries to survive.
“We have some great private benefactors and company benefactors in Australia, but ultimately it’s very hard for them to fund this operation.”
Unlike Bendigo’s art gallery, which is the local council oversees, the Castlemaine gallery is an independent organisation partially funded by the Mount Alexander Shire Council.
But according to a review of the gallery in 2015, less than 10 per cent of its funds came from the council.
The review also found that the council’s engagement with the gallery was low.
Mount Alexander mayor Sharon Telford said the council was “saddened” to hear of the museum’s closure but understood it was necessary to ensure its long term operation.
“The gallery and museum are highly valued by the community and visitors and we are fortunate to have such a unique space in our shire,” Cr Telford said.
While she said council would continue to communicate with the gallery during its closure, she stopped short of offering to rescue it.
Artist Ben Quilty, whose exhibition of war portraits showed at the gallery last year, also expressed his disappointment at the decision.
“This is a national tragedy, and feels like one more kick in the guts to the Australian art community,” Mr Quilty wrote on Twitter.
A meeting of members will convene at the gallery on Wednesday night, two weeks before the August 11 closure.
Art collectors are driven by passion, not just for the art, but the history of art, the artist and their contemporaries, and endless connections between them.
In this regard, public art galleries and private collectors have much in common, and private collectors may go on to donate some or all of their own collection to a public museum, or even build their own art gallery.
You might have much more modest goals with your own art collecting. Whatever your motivations, building your own private art museum at home can be richly rewarding and also a lot of fun.
Importantly, you should buy in the right places, and the Menzies fine art auction on 10 August is a good place to start or continue your own museum at home collection.
For independent advice prior to any purchase, we can assist you with research and analysis, and also with experienced bidding on the night and after-purchase management. For more information, contact us on 02 9977 7764 or email firstname.lastname@example.org
writes Peter Fish in the “Australian Financial Review” on 15 June 2017.
The enormous Emily Kngwarreye canvas bought by singer Elton John 20 years ago for $46,000 sold for $414,800, almost double its estimate at Bonhams sale on Tuesday last week.
Measuring 1.34m by 3.70m, it is among a handful of super-size Kngwarreye paintings to come on the auction market since Earth’s Creation, 6.32m by 3.75m, sold for her record price of $1.06 million 10 years ago.
My Country dates from 1993, shortly before the artist’s death in 1996 after a brief but prolific eight-year career.
The Bonhams sale, which made $3.5 million, was led by Brett Whiteley’s Hummingbird and Frangipani at a premium-inclusive price of $719,800, way up on its estimate of $280,000 to $350,000, and Roy de Maistre’s Magnolia which fetched a relatively huge $549,000 against an estimate of $80,000 to $120,000.
Art consultant David Hulme was a bidder on both works, apparently securing the de Maistre for a client. Also above estimate were Sidney Nolan’s Ned Kelly at $524,600 and Charles Blackman’s Illusion of Children, which surprised some with a strong price of $219,600.
writes Michaela Boland in The Australian on 12 June 2017.
Elton John’s Emily Kame Kngwarreye landscape sold at auction for almost half a million dollars last week, ten times what the piano man bought it for two decades ago and double what Bonhams auction house expected as the bluechip art market continues its bull run.
John and his husband David Furnish have been rationalising their immense art collection in recent years, Kngwarreye’s 1993 My Country landscape was the first of their Australian artworks offered to the market.
Competitive bidding by phone, online and in Bonhams’ Sydney saleroom took the 3.7-metre-wide painting well past its $150,000-$250,000 estimate, with a bidder in the room finally securing the work for $414,800, including the 22 per cent buyer’s premium.
In 1997 John spent $46,000 at Sotheby’s in Melbourne acquiring the vast landscape by the doyenne of Northern Territory artists.
In 2008 he loaned it to a major retrospective exhibition, Utopia: The Genius of Emily Kame Kngwarreye, which toured to Japan before showing at the National Museum of Australia in Canberra.
The eclectic catalogue of 68 artworks sold for well above their $1.2 to $2.2 million dollar expectations carried by four pictures which sold for well above expectations.
Dealer David Hulme, bidding on behalf of clients, was the disappointed underbidder on several of those works but triumphed after a fierce competition for Roy de Maistre’s blue still life Magnolia oil on linen from 1928.
Hulme described the work as one of the finest modern pictures to come on this market this year. The new owner will pay $549,000 from a reserve of $80,000.
Art consultant Elisabeth Hastings, who catalogued the art collection of Aussie Homeloans founder John Symond, bought Brett Whiteley’s yellow Hummingbird and Frangipani board for $720,000 off a low estimate of $280,000.
Sidney Nolan’s pastel 1966 New Kelly landscape went for $524,000 from an estimate of $120,000.
Hulme said: “We’re seeing 2007 again. People have been competing far beyond the estimates.”
I don’t know how long I have raved about Max Dupain (1911 – 1992) … too long perhaps, but to me, Dupain was not just the photographer who created Australia’s most iconic photograph, the “Sunbaker”, but he was also the first true art photographer.
Dupain had fine art training and was ever the great experimenter with his practice.
The estate sale of over 600 photographs through Mossgreen Auctions in Sydney on June 19th represents a golden opportunity to purchase a piece of magic by one of Australia’s greatest photographers. Yet to be recognised as a genius of his craft, I am sure this time will come.
You can view the offer from 16 June to 18 June 2017 in Sydney at the Mossgreen premises at 36 – 40 Queen Street, Woollahra, and also online on the Mossgreen website.
The auction of Max Dupain – Part II: The final estate photographs takes place on Monday, 19 June, at 36 – 40 Queen Street.
It is held in two sessions, with session 1 from 10.30 am – 1.30 pm for lots 1 – 224, and session 2, for lots 225 – 614, starting at 2 pm.
Anyway, enough of my rave, here are my Dave’s Dupain Faves: