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 firstname.lastname@example.org
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:
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 email@example.com
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.