Dave’s Faves for Bonhams 19 Nov. 2017

One of Australia’s most prolific 20th century artists, Sidney Nolan remains, one of our best known, most revered and loved. Perhaps also one of our greatest exports, living at “The Rodd” in Wales until his passing in 1992.

With the passing of his widow, Lady Mary Nolan, in April 2016, another major offering of Nolan’s work, in fact 118 from Lady Nolan’s estate, are to be sold on 19th November with Bonhams at the NCJWA Hall in Woollahra / Sydney.

This sale of impeccable provenance perhaps offers the last chance to obtain a painting with such direct link to Sidney Nolan himself.

Appetite for his art seems to continue unabated. Lately, there have been some monumental prices paid, in particular for Ned Kelly paintings, undoubtedly his most saleable and popular images with collector, such is the fascination Australians have with this legendary bushranger.

Although this catalogue offers great opportunities to “pick up a Nolan Kelly”, with many and varied “Kellys” from different periods, there also a host of other examples from other well-known series of work, including Gallipoli, Antarctica, Africa, Leda and the Swan, Mrs Fraser, and also portraits, landscapes, florals and bird life. Something for everyone then perhaps.

Ever the great experimenter, there are also some wonderful examples of Nolan’s later spray enamel paintings. Below are my picks of the bunch, aka Dave’s Faves.

Viewing in Sydney is from 17 to 19 November at the NCJWA Hall, 111 Queen Street, Woollahra.

You can also peruse online at the Bonhams website.

The auction of the works from the Nolan estate is held after the sale of the 72 lots of Australian and Aboriginal art (including works form the Estate of Mary Macha AM) on Sunday, 19 November 2017, starting at 4 pm at the NCJWA Hall, 111 Queen Street, Woollahra.

Dave’s Faves from the collection of works from the estate of Lady Nolan are:

Lot 101 Mrs Fraser
Lot 101, Sidney Nolan, Mrs Fraser, 1958, est. $6,000-8,000. Soon Gone
Lot 103 Kelly
Lot 103, Sidney Nolan, Kelly. c1965, est $12,000-18,000. Time to grab your Kelly
Lot 107
Lot 107, Sidney Nolan, Midshipman, c1958, est. $25,000-35,000.
Lot 111 Gazelle
Lot 111, Sidney Nolan, Gazelle, c1963, est. $80,000-120,000. You could easily be outrun
Lot 118 Paradise Garden
Lot 118, Sidney Nolan, Paradise Garden, c1970, est. $3,000-5,000. Flower Power
Lot 123 Kelly
Lot 123, Sidney Nolan, Kelly, 1956, est. $12,000-18,000. Head and Shoulders above the Rest
Lot 129, Sidney Nolan, Bird and Landscape, c1982, est. $5,000-7,000. A bird in the hand
Lot 152 Kelly with Rifle
Lot 152, Sidney Nolan, Kelly with Rifle, est. $12,000-15,000. Confrontational Kelly
Lot 176, Sidney Nolan, Kelly, 1982, est. $20,000-30,000. Nolan gives us a spray
Lot 179 Kangaroo Ayers Rock
Lot 179, Sidney Nolan, Kangaroo at Ayers Rock, c.1966, est. $10,000-15,000. Nolan’s Tourist Drive
Lot 183, Sidney Nolan, Leda and the Swan, c1960, est. $3,000-5,000. Take me to your Leda
Lot 187, Sidney Nolan, Kelly, 1961, est. $12,000-18,000. Kelly winging it
Lot 188 Landscape
Lot 188, Sidney Nolan, Landscape, c.1962, est. $80,000-100,000. Multicolour Magic from the Maestro
Lot 192 Dancers
Lot 192, Sidney Nolan, Dancers, Rite of Spring, c.1962, est. $5,000-7,000. Fluid, fanciful and fun
Lot 199 Kelly crossing river
Lot 199, Sidney Nolan, Kelly crossing the River, est. $8,000-12,000. Take me to the River


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Dave’s Faves for Bonhams 19 Nov. 2017 was originally seen on: http://www.bhfineart.com/


Dave’s Faves for Sotheby’s Auction 21 November 2017

The end of the year brings a bounty for the astute art collector: the next 4 weeks will be packed with fine art auctions.

Bonhams, Deutscher + Hackett, Menzies and Sotheby’s combined alone will offer more than $ 30 million worth of art in this end of year round.

To date in 2017, $92 million dollars worth of art have sold at auction. This means that the Australian art auction market is well on track to beat last years’ $106.5 million for the second best turn-over since 2007, when total sales at auction were $175.6 million.

More offerings and works new to market would have helped this growth, with collectors prepared to spend bigger for the best works on offer.

Sotheby’s last auction of the year presents 82 carefully selected lots, with rare colonial, impressionist, modernist and modern treasures among them.

View them personally in Melbourne from 8 to 12 November, at 41 Exhibition Street.

In Sydney, you can inspect the works from 16 to 21 November at 30 and 34 Queen Street, Woollahra.

Online, the catalogue is available at Sotheby’s Australia website.

The auction his held on 21 November 2017, 6.30 pm, at the Intercontinental Hotel in Sydney.

Contact us at Banziger Hulme for independent advice and due diligence prior to purchase, bidding on the night and after-purchase management – phone us on 02 9977 7764 or email info@bhfineart.com

Dave’s Faves from Sotheby’s are:

Adrian Feint
Lot 3, Adrian Feint, Flowers with Sunset: Panel for “Orion”, 1946, est. $15,000-20,000. Feint’s Masterpiece
Fred Williams
Lot 9, Fred Williams, After Bushfire (1969), est. $380,000-420,000. There she grows again!
Albert Tucker
Lot 10, Albert Tucker, Image of Modern Evil 29 1946, est. $800,000-1,000,000. The Evil Eyes have it!
William Dobell
Lot 11, William Dobell, Study for Margaret Olley (1948), est. $180,000-220,000. Olley Lives
Brett Whiteley lot 14
Lot 14, Brett Whiteley, Two Giraffes No. 2 1964-85, est. $90,000-120,000. Stop rubbernecking and buy it!
Lot 17, Brett Whiteley, Wategos Beach, Holiday Suite 9 1989, est. $60,000-80,000. Where seagulls dare
Brett Whiteley lot 18
Lot 18, Brett Whiteley, Wategos Beach, Holiday Suite 7 (1989), est. $50,000-70,000. We can all draw something from this
William Robinson
Lot 19, William Robinson, Sunset and Rising Moon 1993, est. $60,000-80,000. I can fly!
Lot 20, Brett Whiteley, Shao 1979, est. $850,000-950,000. Shao steals the show
Lot 23, John Brack, Study for Standing Nude 1970, est. $30,000-40,000. Brack Beauty
John Perceval
Lot 32, John Perceval, Warburton Ranges Aboriginal Child (1958), est. $45,000-65,000. Precious Perceval Pottery
Lot 33, Ian Fairweather, Portrait (1939), est. $80,000-100,000. A Fairweather Friend
Lot 34, Sidney Nolan, Carcase 1953, est. $150,000-180,000. Dedication through Drought and Death
Lot 35, Fred Williams, Summer Snow at Perisher (1976), est. $500,000-700,000. Go Snow
Lot 38, Clarice Beckett, Bathing Boxes (1934), est. $35,000-45,000. Minimal subliminal
Lot 53, John Brack, The Return of the Prodigal Son 1953, est. $600,000-800,000. The Iconic
Cressida Campbell
Lot 67, Cressida Campbell, Gold Fish (1984), est. $10,000-15,000. Don’t be Koi

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The following blog post Dave’s Faves for Sotheby’s Auction 21 November 2017 is courtesy of: David Hulme’s art blog

Dave’s Faves for Deutscher + Hackett 20 Sept 2017 Auction

No rest for the team at Deutscher + Hackett: just three weeks after the phenomenal Fairfax auction follows their mixed vendor sale.

It is a tightly curated auction with 78 lots, starting off with a bang with two rare colonial works on paper.  Lot 1 shows the fledgling town of Perth around 1836, while lot 2 is large panorama of the Victorian goldfields from c1858. Both may be destined for public collections with their historical significance.

At the international end of the spectrum, D+H offer an iconic “Baigneurs” sculpture by Niki the St. Phalle, a first in the Australian auction room. Watch out also for the small but powerful bronze by Henry Moore.

There are many more treasures, and David has picked some of his favourites – check them out below in “Dave’s Faves”.

Personal viewing is on from 14 September to 20 September at their new premises in 16 Goodhope Street, Paddington. You can also view online at the Deutscher + Hackett website.

The auction will be held on Wednesday, 20 September, at the Cell Block Theatre at the National Art School, Forbes Street, Darlinghurst, starting at 7 pm.

We are happy to assist you with independent pre-auction advice and research, and representation on the night for astute bidding. Contact us by phone 02 9977 7764 or info@bhfineart.com

Grace Cossington Smith
Lot 3, Grace Cossington Smith, Wattle, c1944, est. $60,000-80,000. What’ll it be?
Lot 6, Margaret Olley, Winter Flowers, 1965, est. $30,000-40,000. Far from a Still Life
Lot 7, Charles Blackman, The Letter, c1968, est. $100,000-140,000. This could be your red letter day
Lot 9, Henry Moore, Reclining Stringed Figure, 1939, cast 1982, est. $180,000-240,000. Give me Moore
Lot 10, Clement Meadmore, Virginia, 1970, est. $80,000-120,000. Mega Meadmore
Lot 14, Cressida Campbell, Spotted Eucalypts, Orange, 2000, est. $45,000-65,000. Have you spotted these eucalypts?
Lot 15, Niki de Stain Phalle, Les Baigneurs, 1980-81, est. $35,000-55,000. Oh Niki, you’re so fine, you’re so fine
Lot 16, Michael Johnson, Against the Light, 2002, est. $35,000-45,000. Johnson creates his Magic
Lot 20, Lin Onus, Deep Water (Matong), 1995, est. $120,000-160,000. Deep Pockets required for Deep Water
Lot 22, Emily Kame Kngwarreye, Untitled, 1991, est. $60,000-80,000. Emily joins all the dots
Lot 35, Charles Blackman, They brought her ribbons of yellow and crimson and great clusters of flowers, c1980, est. $16,000-20,000. Powerful and Flowerful
Lot 51, Rupert Bunny, Jeune Fille en Bleu, est. $7,000-9,000. Bunny’s Beauty in Blue
Lot 55, Will Ashton, St. Ives, est. $30,000-40,000. Deserves to sail away
Lot 67, Bill Whiskey Tjapaltjarri, Rockholes and country near Uluru, 2006, est. $12,000-16,000. There’s Whiskey in this Tjapaltjarri
Lot 70, Noel McKenna, Playroom, 1992, est. $1,500-2,000. D’ye no ken?

Dave’s Faves for Deutscher + Hackett 20 Sept 2017 Auction is courtesy of: http://bhfineart.com

Dave’s Faves for the D+H Fairfax auction 30 Aug 2017

Deutscher + Hackett secured the privilege to offer the finest artworks from one Australia’s most distinguished private collections: that of the late James O. Fairfax AC.

The 54 lots offered on 30 August in Sydney represent a master class in Australian painting, with outstanding impressionist, modernist and modern classics. It’s worth going to the viewing just for the sheer pleasure of it.

If you would like to know more, avail yourself to the sale catalogue: it gives an illuminating insight into the life of an extraordinary collector, and notably features a roll call of high calibre essay writers and their research.

Fairfax was a generous benefactor during his lifetime (among others, he gifted a substantial number of European Old Masters to the Art Gallery of New South Wales), and the proceeds of this auction will also go towards a good cause: they are earmarked to help to create a charity with a focus on children’s medical research.

The Sydney preview is from 24 August until 29 August.

Please note: you will find Deutscher + Hackett at their new premises at 16 Goodhope Street, Paddington. And of course also online at the D+H website.

The auction is held on Wednesday, 30 August at the Cell Block Theatre at the National Art School,  Forbes Street, Darlinghurst.

We would be delighted to assist you with independent advice on any of the offerings in this extraordinary sale.

Choosing Dave’s Faves was somewhat being like a kid in a candy store this time round:

Lot 1, Roy de Maistre, The Beach, 1924, est. $60,000-80,000. Hot hot hot
Grace Cossington Smith
Lot 2, Grace Cossington Smith, Sofa in the Corner, 1962, est. $80,000-120,000. Homey
Russell Drysdale
Lot 4, Russell Drysdale, The Bar – Albury, c1942-43, est. $30,000-40,000. Happy Hour
Eugene von Guerard
Lot 10, Eugene von Guerard, Mr John King’s Station, 1861, est. $800,000-1,200,000. King of the Mountain
Arthur Streeton
Lot 15, Arthur Streeton, Minarets, Cairo, 1897, est. $300,000-500,000. Slim Picture, Fat Price
Frederick McCubbin
Lot 16, Frederick McCubbin, Little Dock, Melbourne, c.1914, est. $25,000-35,000. All will flock to Little Dock
Lot 18, Sidney Nolan, Glenrowan, 1955, est. $600,000-800,000. Battle it out for this one
Fred Williams
Lot 24, Fred Williams, Landscape (The Charcoal Burner), 1959, est. $80,000-120,000. Burning Bright
Lot 26, John Brack, Nude with Purple Rug, 1985, est. $50,000-70,000. That Old Brack Magic
Lloyd Rees
Lot 27, Lloyd Rees, Farm Houses at Pennant Hills, 1932, est. $20,000-30,000. Pencil me in for this one
Lot 30, William Robinson, Morning Springbrook and West, 1955, est. $160,000-220,000. Grandscape Landscape
Roy de Maistre
Lot 32, Roy De Maistre, Landscape, Sutton Forest, 1927, est. $25,000-35,000. See the Trees and the Forest
Roland Wakelin
Lot 33, Roland Wakelin, Edward Street, North Sydney, 1927, est. $20,000-30,000. Poles and wires sell-off
John Perceval
Lot 42, John Perceval, Cello Player, c1958-59, est. $30,000-40,000. Music to my Ears



Dave’s Faves for the D+H Fairfax auction 30 Aug 2017 is republished from: Banziger Hulme Fine Art Valuations

Dave’s Faves for the Sotheby’s auction 16 August 2017

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.

You can also visit the Sotheby’s website to see all lots.

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:

Lot 2, Grace Cossington Smith, Tree Over Water, 1943, estimate $25,000-35,000. Grace-ful
Lot 4, William Dobell, The Fortune Teller, 1935, est. $60,000-80,000. Pearly Kings and Queens
Lot 7, Russell Drysdale, Boy with a Lizard (1966), est. $400,000-600,000. Drys-a-bone
Lot 8, Jeffrey Smart, The Mail Exchange, Rushcutters Bay (1989-1992), est. $300,000-350,000. Exchange with Male
Lot 9, Arthur Boyd, Moby Dick Hill, 1949, est. $1,000,000-1,200,000. Something to crow about!
Lot 16, Elioth Gruner, Silver Sands (Bondi), 1918, est. $120,000-140,000. A Peach of a Beach
Lot 17, E. Phillips Fox, Monastery, San Lazzaro, 1917, est. $300,000-400,000. Monastery Magic
Lot 25, Fred Williams, Mernda, 1972, est. $200,000-250,000. Sunny Side Up
Lot 37, Charles Blackman, Suite 1961, est. $250,000-300,000. Sweet Suite.
Lot 48, Ray Crooke, Shepparton, 1958, est. $16,000-20,000. Tree-Time
Lot 51, Albert Tucker, Joy Hester, est. $50,000-60,000. Tic Tac Tucker
Lot 54, Criss Canning, Pink Poppy, 2002, est. $8,000-12,000. Can the Can
Lot 60, Roland Wakelin, Sawmill at Kempsey 1932, est. $6,000-9,000. Modern Master
Lot 61, Rick Amor, Silent World, 2003, est. $30,000-40,000. Ssshhh
Lot 63, Brett Whiteley, Silver Eye, 1988, est. $6,000-8,000. Estate of the artist
Lot 76, William Dobell, Wangi Landscape, est. $20,000-30,000. Maybe you can wing a Wangi

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The blog post Dave’s Faves for the Sotheby’s auction 16 August 2017 is republished from: Banziger Hulme Fine Art Pty Ltd

Castlemaine art museum to stay open

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.

Read the entire report  in the Bendigo Advertiser

The blog post Castlemaine art museum to stay open is courtesy of: BH Fine Art

Gallery closure labelled a “national tragedy” as art world calls on council to step in

writes Mark Kearny in the Bendigo Advertiser on 27 July 2017.

Arts leaders from around Australia have voiced their outrage at the closure of Castlemaine Art Museum, labelling the decision a “national tragedy” and calling on the local council to step in.

The board of the 104-year-old institution announced last week a shortfall in funding would shut the gallery’s doors for two years while a sustainable source of revenue could be found.

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.

James R. Jackson “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.


Gallery closure labelled a “national tragedy” as art world calls on council to step in is republished from: http://bhfineart.com