For their 100 year anniversary, Leonard Joel Auctions in Melbourne have put together a celebratory auction titled “Centum” (Latin for “hundred”) with 100 works by 100 living Australian artists.
They range from masters like John Olsen and Tim Storrier to mid-career artists such as Euan MacLeod and Peter Booth, to younger artists including art market darlings Ben Quilty, Dale Frank and Del Kathryn Barton, as well as a small selection of Aboriginal artists, featuring among others Gabriella Possum, Barbara Weir and Emily Pwerle.
Equally varied are the media on offer: oil, watercolours, photography and sculpture, and if you are after a large canvas, you won’t be disappointed either.
At the moment, art auction houses are not allowed to conduct live auctions during the restrictions imposed by the Australian government to contain the spread of the Corona virus.
Therefore the auction will be held on 5 May 2020 without room bidding, and bidding only by phone and online.
Many artworks are estimated below $10,000, making this a great opportunity to acquire works by noted contemporary Australian artists at budget-friendly prices.
If you are interested in these or any other lots in the auction, don’t hesitate to email us or phone David on 0466 313 095.
Here are Dave’s Faves:
Lot 2 – Noel McKenna, 2009, A Fine Bespeckled Gentleman, 2009. 38.5 x 39 cm, est. $4,000-6,000. Put that in your pipe and smoke itLot 4 – Peter Smets, Site Office #2, 45 x 65 cm, est. $4,000-6,000. Take-away kebab for lunch, Bruce?Lot 5 – Jason Benjamin, I looked at the past and it just scarred my eyes, 2019. 120 x 120 cm, est. $12,000-16,000. The future’s looking brighterLot 6, Christopher McVinish, Beacon Tower, 2002, 125 x 175 cm, est. $2,500-3,500. Your home is your castleLot 7 – David Keeling, Mobile Man, 2003, 62 x 51 cm, est. $4,000-6,000. So should I text, email, Whatsapp, Instagram, Tweet, find you on Facebook or Zoom you then?Lot 9 – Stephen Bush, Lily of the Valley, 2008, 101.5 x 94.5 cm, est. $9,000-12,000. Keep the home fires burningLot 19 – Del Kathryn Barton, Boy Becoming Man, 2006, 79.5 x 60.5 cm, est. $8,000-12,000. Sew WhatLot 22 – Phillip Piperides, Resting Dancer, 58 x 33 x 58 cm, est. $12,000-16,000. An appeal for calmLot 24 – Rick Amor, Man in Landscape, 1995, est. $6,000-9,000. Tree huggers welcomeLot 26 – Bruce Armstrong, Owl, 2016-2020, 190 cm incl. base, est. $18,000-24,000. Be wiseLot 28 – Michael Zavros, Red/Blue, 2001, 100.5 x 100 cm, est. $20,000-25,000. Remember these?Lot 31 – John Kelly, Light 2006, 114.5 x 146.5 cm, et $35,000-45,000. It will be just a little prickLot 36 – Jan Senbergs, Landing at Exotica, 1991, 152 x 183 cm, est. $16,000-20,000. Remember these?Lot 40 – Callum Morton, Casa Spizzico, Capri, 2001, 59.5 x 83.5 cm, est. $2,500-3,500. The perfect get-away for self isolatorsLot 42 – Deborah Paauwe, Tangled Whisper, 2004, 100 x 100 cm, est. $2,000-4,000. To hug or not to hug, that is the questionLot 44 – Sam Leach, Cockatoo with Probability Diagram, 2010, 45 x 30 cm, est. $7,000-9,000. Don’t be a galahLot 90 – Paul Ryan, Study for Cannibal, 2013, 81 x 71 cm, est. $3,000-5,000. Don’t panic, Australia produces three times as much food as it consumes
Perhaps not since the time of World War II have Australians felt so strongly about the comforts of home, while many are trapped in overseas countries with little chance of returning quickly. Home then becomes a haven and shelter, a place to feel safe and secure. With share markets declining everywhere, perhaps we seek solace in the more tangible and perhaps comforting purchase of art to fill our walls whilst we work from home.
That might just do it. If the Deutscher + Hackett sale of Aboriginal art is anything to go by, where 80% of art sold to local Australian collectors, then a further litmus test and test of confidence would be the large Davidson Auctions’ sale of Australian and International Art on Sunday, which had combined low estimates of $444,000 and high estimates of $731,000 for the 472 lots. The sale proved to be very successful, generating a total of $450,000 hammer price and a 80% clearance rate.
Herbert Badham’s work remains not just highly sought after, but very rare to market. A delightful, late painting by the artist proved again his popularity: Lot 23, Snow in Courtfield Gardens, 1955, sold for $11,000 on hopes of $2,000-4,000.
In the week before the sale, principal Robert Davidson had informed prospective buyers that the auction house would absorb the online bidding fee of 5% charged by the online auction platform Invaluable.com on top of the standard buyer’s premium.
With this unprecedented move, Davidson may well have eliminated a major barrier to bidders, not only the ones who were not prepared to risk the new inherent dangers of room bidding due to coronavirus, but all bidders wherever they are located.
This seems to have proved a savvy step, and even though it demonstrates the power that companies like Invaluable.com have, these platforms may become even more important than they have ever been, for auctioneers, sellers and buyers.
The Davidson sale started off well with several typical works by Australian masters: the first lot to be sold was somewhat poignantly Schoolgirl Crying, 1953 (lot 2), a pencil sketch by Charles Blackman which sold on its low estimate of $1,600 hammer price.
Three paintings by David Boyd (lots 3, 4 and 5) estimated at $7,000-11,000, $5,000-7,000 and $3,500-5,000 sold for $8,000, $4,750 and $3,500 respectively.
A Brett Whiteley screenprint Swinging Monkey, 1965 (lot 6) sold on hopes of $2,500-3,500 for $4,250. This was followed by three appealing and typical Russell Drysdale drawings: At the Bar ( lot 7), sold for $3,500 mid-estimate, Country Child (lot 8) sold for $3,250 on estimates of $2,000-4,000, and Drover Resting (lot 9) sold on the low estimate for $2,000.
A Norman Lindsay oil Nude in a Glade (lot 13), was offered at $8,000-12,000 and sold for $8,500, whilst the watercolour At Tavern Close (lot 14), sold for the same price on hopes of $7,000-11,000.
Herbert Badham’s work remains not just highly sought after, but very rare to market. A delightful, late painting by the artist proved once again his popularity, when Snow in Courtfield Gardens, 1955 (lot 23), on expectations of $2,000-4,000 soared to $11,000 with room and online bids aplenty.
3 out of 4 paintings by Hugh Sawrey also sold well, the best result achieved for The Camp at the Seven Mile… (lot 24), estimated at $10,000-12,000 and selling for $9,500.
A tiny painting measuring just 30 x 30 cm by Australian abstractionist giant Elizabeth Cummings (lot 31) achieved an impressive $2,750 on hopes of $1,800-3,500, while our other leading abstract master Tony Tuckson also achieved good results: Untitled, Woman at Table (lot 41) sold for $3,250 just below the low estimate of $3,500 and Abstract on Newsprint – Red and Black (lot 42) on $1,500-2,500 hopes sold for a newsworthy $4,000. The third Tuckson TD 4550 (lot 43), a very small 10.5 x 15.5 cm sold for $2,250, estimated at $800-1,200.
An unusually large painting in William Blamire Young’s chosen medium of watercolour Horse Team Crossing Australian River Landscape (lot 60) sold for an unusually large price: estimated at $8,000-12,000, it sold for a stunning $18,000. This sale put this work as the fourth highest price recorded for the artist after Mauls and Wedges, 1927-29, sold by Leonard Joel in September 2013 for $22,000 hammer price.
Five paintings by Roland Wakelin all sold, including The Harbour from Berry’s Bay (lot 61) for $1,800 on estimates of $2,000-4,000.
3 paintings by D’Arcy Doyle also sold, including Taking Dad’s Advice (lot 67), selling mid-estimate for $5,500.
5 Pro Hart paintings sold, with Race Meeting, 1974 (lot 72) racing to a hammer price of $4,000 above its high estimate of $3,500.
There were 5 paintings by Alison Rehfisch offered in the sale, of which a very respectable 4 found buyers, with an excellent result of $6,500 for Brick Kiln (lot 79), estimated at $2,500-4,500.
Norman Lindsay etchings have been in the doldrums lately, but fortunes were reversed with the lovely selection offered at Davidson’s: lots 110 to 115B provided good buying opportunities. The best result was achieved for a delightful group of 3 original etchings from 1922 with editions of 55; estimated at $3,500-4,500, they sold for $4,000.
The sleeper award of the auction went to Alan Oldfield’s Three Objects and Cubist Landscape (lot 159): with modest estimates of $250-450, it achieved a multiple of almost 10 times the low estimate and selling for $2,250.
Davidson Auctions have been successfully selling works by international artists since the start of their operations, and this surely was their big test. However, absorbing the 5% Invaluable online bidding fee may have been further enhanced by the drop of the Australian dollar against the US dollar as well as the British pound and may have encouraged overseas buyers even more.
One of Davidson’s more unusual international success offerings are paintings by prominent Mauritian painter Malcolm de Chazal (1902 – 1981). In this sale, 15 paintings were on offer, and a very impressive 13 of these sold, with the best results for Tropical Buildings and Palm Tree (lot 182) of $2,500 on estimates of $1,000-2,000.
American George Condo is a darling of the contemporary art world, and when 6 of the artist’s large-scale etchings and aquatints from the early part of his career are offered, unsurprisingly, interest levels are very high. All 6 prints sold, with the highest price achieved for More Sketches of Spain for Miles Davies, 1991 (lot 232), selling for $1,900 and thereby more than doubling the low estimate of $800.
Four Joan Miro aquatints from 10 years earlier 1981, and the latter part of the artist’s career, also received very strong bidding. Again, all sold well above expectations, for example lot 229 for $1,400 hp on hopes of $300-500.
Another exceptional result was achieved in the middle of the sale, when the highly atmospheric Boats on the Yarra (lot 274) by Aileen Dent on hopes of just $400-700 sailed away to reach $2,750.
A Charles Conder pen and ink sketch (lot 344) did well for the seller: estimated at just $200-400, it sold for $1,400.
Manly’s very own social realist painter of the 1940s, Harold Greenhill, is strongly represented with a dozen works in the Manly Art Gallery collection. A very good example of his work, Neighbours, Oyama Street, Manly, 1946 (lot 347) carried estimates of $1,500-3,000 and unsurprisingly sold well above for $3,750.
Speaking with Robert Davidson, he was naturally very pleased with the success of his sale. He told us that he had decided to absorb the 5% Invaluable.com fees to assist many of his regular clients who would have found it difficult to be in the room in the current circumstances. His collectors saw this as a sensible and helpful concession. Would he do it again? – Depending on the situation, the answer would probably be Yes.
Davidson Auctions already have a strong online bidding clientele of around 30%, and noticed a lift in this sale up to around 40%.
Robert Davidson said he could well imagine his next sale without any bidders in the room, depending on government restrictions, and does not necessarily see this as an impediment.
He also pointed out that there was a lot of goodwill for his sale and that his clients wanted to see “business as usual” and as unaffected as possible by the current crisis.
We also spoke with Chris Deutscher, director of Deutscher + Hackett, whether they had noticed significant changes in buyer behaviour in their stand-alone Aboriginal art sale last week. As reported on AASD, 80% of sales were to local buyers. Within the international component, France were active, while the US were a little down. Chris Deutscher said that the Aboriginal art market had expanded in recent times, hence their move towards their first stand-alone Aboriginal art auction since 2016. The room audience was reduced to about half, but according to Deutscher, buyers who did not attend mostly moved to phone bidding, as the 5% Invaluable.com online bidding fees are understandably somewhat of a deterrent to buyers of higher value lots.
Generally D+H buyers however just watch the auction online and use phone bidding to participate in the sale. He said it was noticeable that all of the people in the saleroom were serious bidders, which made for a lively room experience. Like Robert Davidson, Chris Deutscher said that what they felt from their buyers in particular was a huge amount of goodwill, very much wanting to support this sale in these difficult times.
Chris Deutscher also told us that due to the uncertainty caused by the Covid-19 crisis, their May fine art sale had been rescheduled to 17 June 2020.
Wandering through the large colonial art collection at the Tasmanian Art Gallery and Museum, one is immediately assured of its gravitas and sense of history. Some of Australia’s most significant paintings reside here, including Benjamin Duterreau’s “The Conciliation” from 1840.
Tasmania has long been a natural magnet for artists, from John Glover through Tom Roberts and on to Fiona Hall today. John Glover’s Tasmanian landscapes dating back to the 1840s never fail to impress wherever they are shown, but seeing them in their home surroundings, they always appear that much more impressive in my view. Early vistas of Hobart appear equally commanding, with works by Henry Gritten, Knut Bull and Eugene von Guerard on display.
The latter’s “View of Hobart Town, with Mount Wellington in the Background”, 1856, represents the very best in Australian colonial art. Unsurprisingly, it sold for over $1.5 million at a Menzies sale in June 2016, and is now generously on loan to TMAG to sit amongst other worthy works from collectors Elias and Colleen Jreissati.
The cover lot at Colville Gallery’s Summer auction in Hobart was Haughton Forrest’s “Mount Wellington”, selling for $18,500 hammer price on 24 Feb. 2020.
Wandering the streets of Battery Point and Salamanca, we are surrounded by grand colonial buildings like in no other state. Its colonial art has given way to a burgeoning commercial art scene, including long established Despard Gallery, Bett Gallery and more recent galleries like Colville Gallery and artist-run initiatives such as Inka Gallery at the Salamanca Arts Centre.
David Walsh’s Mona (Museum of the Old and New) of course has made Hobart global must-visit art destination.
House prices have risen significantly in recent times, and with Hobart residents perhaps feeling wealthier, the purchase of art is more likely to be on the agenda.
This may well be aided by Tasmania’s collect art purchase scheme, which enables buyers to purchase contemporary art from commercial Tasmanian art galleries with a 12 months interest-free loan for works up to $8,500.
Apart from the support for the retail trade, there is now also more interest in the secondary art market, as Colville Gallery has organised fine art auctions three times a year since 2016 in their premises in Salamanca Place in Hobart. Their summer auction was held just on 24 February, with a bustling crowd of more than 40 people in the room, as well as phone and internet bidders, eager for auctioneer and gallery owner Trudi Curtis to get her gavel into gear.
Though Colville Gallery is a contemporary art space, their fine art auctions appear to be a great opportunity to cross-pollinate with a mix of the more historical art, art from “mainland” contemporary artists and that of contemporary Tasmanian artists, which made up close to half of the 98 lots on offer.
Boy with Red Fish (lot 1) by Tasmanian artist Zsuzsa Kollo who is represented by Colville Gallery, sold for $1,650 hammer price on $600-800 hopes.
Meanwhile, leading mainland Australian artist Elisabeth Cummings’ Bush Study (lot 2) sold for $1,800 hp on estimates of $2,000-3,000.
With a hark back to the colonial, more Sydney than Hobart, Conrad Martens’ Lumley (lot 3), a pencil drawing from 1836, sold for $1,000 hp to a room bidder. However a work attributed to John Glover, Castle Landscape (lot 4), failed to fire and passed in on $4,000-5,000 expectations.
Institutional favourite Mike Parr’s work is always difficult to sell in the auction room, however, Trudi Curtis sold two of the 4 that were on offer. Self Portrait (lot 8) sold for $2,200 hp, whilst Animal (lot 19), sold for $1,800 hp.
Two paintings by perhaps Tasmania’s other best-known painter, Haughton Forrest, were of great interest: Mount Wellington (lot 9), the cover lot estimated at $15,000-18,000, was keenly contested with a lady room bidder losing out to a phone bidder when the hammer fell at $18,500 hp.
The lady bidder however didn’t miss out completely, managing to secure the smaller but also attractive Lighthouse Yacht (Ferry) (lot 14) for $4,500 hp on estimates of $4,000-6,000.
Other popular paintings at the auction were Pro Hart’s Bush Races (lot 28), estimated at $3,000-5,000 and selling for $3,900 hp, Ken Done’s Reflections (lot 31), sold for $4,400 hp on hopes of $3,000-4,000 and Ann Thomson’s Discovery (lot 27) selling for $3,800 estimated at $3,000-5,000.
It is impressive to see so many Tasmanian artists supported in the secondary market in this way and shows how the commercial gallery can work together with the auction room.
The last auction for the year at Deutscher + Hackett on 27 November features two collections which couldn’t be more different, and wonderfully demonstrate D+H’s brilliant range in their offering.
Lots 24 to 34 contains works from the Mainland Collection of Contemporary Asia Pacific Art; it was assembled with the idea of “The art of humanity: a cultural march through complex landscapes”, with works by eminent contemporary artists hailing from Australia, New Zealand, Japan, Indonesia, China, Vietnam and Thailand, and ready to be discovered by a wider audience in Australia.
Meanwhile, lots 35 to 41 are all by Kate O’Connor, one of our now highly revered artists who had immersed themselves in the Paris of the early 20th century, but struggled to get recognition after their return home. The 6 lots were collected by a close relative of O’Connor during 50 years and represent paintings from all periods of the artist’s career.
We will be attending the sale in Melbourne, and would be delighted to assist you with due diligence and pre-purchase reports before the auction and also bid for you on the night.
The viewing in Sydney is held at 16 Goodhope Street, Paddington, from 14 to 17 November.
The viewing in Melbourne is at 105 Commercial Road, South Yarra, from 21 – 27 November.
The auction is held on 27 November 2019, 7 pm, at 105 Commercial Road, South Yarra.
David has picked no less than 24 “Dave’s Faves” from the 118 lots at D+H:
Lot 1 – Dorrit Black, Still Life (Dahlias), c1929-30, 39 x 33 cm, est. $25,000-35,000. Don’t brush this one asideLot 3 – The Bamboo Blind, 1926, 15.5 x 15 cm, est. $8,000-12,000. A Girl’s Own AdventureLot 5, Hans Heysen, The Midday Rest, 1909, est. $25,000-35,000. Grand, Central and StationaryLot 8 – William Robinson, Towards the Sea, from Springbrook, 1995, 137.5 x 183 cm, est. $200,000-300,00. Bill’s, Big, Bold and BeautifulLot 10 – James Gleeson, Salvage from Random’s Effigy, 1939-41, 45.5 x 35 cm, est. $20,000-30,000. Australian Surrealism Chapter 1Lot 14 – Antony Gormley, Small Yield, 2015, 72.5 x 37 x 32.5 cm, est. $350,000-450,000. Please let us know if you need a heads upLot 25 – Alex Seton, Life Vest (Emergency), 2014, 51 x 34 x 40 cm, est. $25,000-35,000. Sink or SwimLot 39 – Kate O’Connor, Artist and Easel, Luxembourg Gardens, c1910-14, 44.5 x 54.5 cm, est. $20,000-30,000. First Rate, KateLot 49 – Eugene von Guerard, Mt Kent, on the Wonnangatta, Gipps Land, 1873, 31 x 47 cm, est. $240,000-280,000. Eugene’s hills are always aliveLot 50 – William Charles Piguenit, An Autumn Sunset, Lane Cove River, NSW, c1910, est. $30,000-40,000. Piguenit’s Pursuit of PerfectionLot 55 – Margaret Olley, Red Room and Visitor, 2001, 76 x 76 cm, est. $45,000-65,000. A Room with a PewLot 56 – Rick Amor, Study for Portrait, 2004, 81 x 100 cm, est. $30,000-40,000. Don’t avoid this dark alleyLot 62 – Arthur Boyd, Schoolboy Riding a Goa, c1954-1996, 76 x 39 x 30 cm, est. $20,000-25,000. Boyd’s Blue BoyLot 66 – Albert Namatjira, Mt Gillen, Alice Springs, c1956, est. $20,000-30,000. Bert’s Gums are the BestLot 67 – Adelaide Perry, Across the Lane Cove River, Woolwich, 1948, 55 x 77 cm, est. $4,000-6,000. This should put the Wind in your SailsLot 69 – Herbert Badham, Andante, 1953, 42.5 x 54 cm, est. $8,000-12,000. Take your TimeLot 74 – Criss Canning, Still Life with Native Flowers and Pears, 1985, 74.5 x 85 cm, est. $18,000-24,000. It’s Time to be cannyLot 75 – Nora Heysen, Mushrooms, 1928, 51 x 62 cm, est. $8,000-12,000. MAGICLot 77 – Peter Booth, Painting (Chair and Ladder), 1995, 36 x 41 cm, est. $15,000-20,000. Hello Darling, I’m back from IKEA, just got to put it together!Lot 80 – Yvonne Audette, Flooded Land, 1990, 114 x 153 cm, est. $15,000-20,000. The Drought is overLot 86 – Sidney Nolan, Elephants and Gazelles, 1963, 63 x 51.5 cm, est. $8,000-12,000. No White Elephants hereLot 88 – Ray Crooke, Hotel Bedroom, 45.5 x 35.5 cm, est. $5,000-7,000. Excuse me, is there a gym?Lot 90 – Sali Herman, Wangi Scene, 1948, 54 x 73.5 cm, est. $8,000-12,000. Bill Dobell’s Day OffLot 114 – Ida Rentoul Outhwaite, The Pool, 1961, 42 x 26 cm, est. $6,000-9,000. The Garden of Earthly Delights
Sotheby’s present 79 lots in their spring 2019 auction, with some truly outstanding offerings. We are particularly captivated by lot 26, “Woman in a Salon”, William Dobell’s portrait of Helena Rubinstein, founder of the eponymous cosmetics empire. What an extraordinary woman and life – and what a striking painting by one of our most incisive portraitists. Dobell created several portraits of this formidable self-made entrepreneur, illustrated in a separate brochure entirely dedicated to this lot.
Remember the offering at Sotheby’s in August this year of “The Dead Landlord”, and you can see the breadth of Dobell’s humanity.
Starting the sale off however are two iconic photographs by Carol Jerrems, who captured the 1970s like no other Australian photographer; Jerrems’ life was tragically cut short in 1980 at the age of just 31.
We also like very much the assembly of several outstanding Australian impressionist paintings by Tom Roberts, Arthur Streeton, Rupert Bunny and John Russell.
Howard Arkley is still very much in favour, and present with not one, but two stunning interiors, and both offered at auction for the first time since they were purchased in the early 1990s.
If you have a chance, go and view the paintings in Melbourne or Sydney:
6 – 10 November, 14-16 Collins Street, Melbourne
14 – 20 November, 30 Queen Street, Woollahra
The auction takes place on 20 November, 6.30 pm, at the Intercontinental Hotel in Sydney.
We would be delighted to assist you with pre-purchase advice and due diligence reports on any lots to provide you with as much intelligence as possible prior to the auction and represent you on the night with experienced strategic bidding.
Contact us on 02 9977 7764 or info@bhfineart.com if you would like to know more how we can assist you.
And Dave’s Faves for Sotheby’s are (some with added links):
Lot 1 – Carol Jerrems, Vale Street, 1975, 20.1 x 30.4 cm, est. $30,000-50,000. Her photos however live onLot 2 – Juliet Holding Vale Street, 1976, 30.5 x 20 cm, est. $20,000-30,000. Don’t hold back!Lot 14 – Hans Heysen, Ambleside 1924-25, 21.7 x 40.5 cm, est. $15,000-20,000. The Master of LightLot 15 – Arthur Streeton, The Landing Place (Hawkesbury River), 1896, 30.3 x 35.7 cm, est. $35,000-45,000. This could be the day to land your StreetonLot 16 – Tom Roberts, She-Oak and Sunlight, 1889, 30.5 x 30 cm, est. $220,000-280,000. “The perfect expression of one time and place” – Tom Roberts, July 1890Lot 17 – Arthur Streeton, View from Mt Toorong (Study for Australia Felix), 1907, 18.5 x 24.2 cm, est. $40,000-60,000. Plein Air PanoramaLot 18 – Tom Roberts, The Two Roads to Monbulk, 1924, 44.6 x 58.5 cm, est. $160,000-190,000. I can see the Forest for the TreesLot 20 – Arthur Streeton, Garden Green, 1940, 76.3 x 76.3 cm, est. $150,000-200,000. How green is my wheel barrow?Lot 24 – Jeffrey Smart, Approach to a City III, 1968, 66 x 81 cm, est. $650,000-850,000. We’re on a road to somewhereLot 26 – William Dobell, Woman in a Salon (Helena Rubinstein), 1960, 40.5 x 51 cm, est. $400,000-600,000. “There are no ugly women, only lazy ones” – Helena RubinsteinLot 33 – Howard Arkley, Neapolitan Delight 1993, 175.2 x 134.7 cm, est. $800,000-1,000,000. Colour eruptionLot 35 – Howard Arkley, Plain and Fancy, 1993, 173 x 135 cm, est. $600,000-800,000. Fancy thatLot 41 – William Robinson, Across the Gorge Landscape, 1988, 85.5 x 92.8 cm, est. $60,000-80,000. Gorgeous GorgeLot 43 – Fred Williams, Red Landscape, 1966, 86 x 71 cm, est. $100,000-150,000. Now let’s not argue about the colour, pleaseLot 45 – Margaret Olley, Melbourne Hotel, South Brisbane, 1948, 63 x 76.5 cm, est. $60,000-80,000. Living it up at the Hotel MelbourneLot 48 – Lloyd Rees, City Skyline, 1955, 35.7 x 44.8 cm, est. $30,000-40,000. Spires to inspireLot 58 – Herbert Badham, Port Said 1954, 38 x 30.5 cm, est. $10,000-15,000. He said, she said, Port SaidLot 60 – Weaver Hawkins, Rola 1933, 91.5 x 70.4 cm, est. $35,000-45,000. I’ve been everywhere man, Ballarat, Melbourne, Hamilton, Castlemaine, Geelong, Horsham, Ararat, Mildura, Sale, Warrnambool, Newcastle, Brisbane, Sydney (with apologies to Lucky Starr)Lot 61 – Arthur Boyd, Rosebud Landscape, 1937-1939, 51 x 61 cm, est. $20,000-30,000.Lot 65 – Brett Whiteley, Spooked by Egypt, 1984, 70 x 50.2 cm, est. $25,000-35,000. The Eyes have itLot 69 – Robert Klippel, Untitled, 1992, 92.5 x 122 cm, est. $10,000-15,000. Colour me badd
We all love a good home contents auction, but “Fairwater” in Point Piper is not just any old home, but the ultimate Sydney harbour front mansion on 11,000 m2 of manicured grounds.
The largest privately-held property on Sydney harbour was owned by the Fairfax publishing dynasty for over 100 years. This year the family sold it for $100 million, the highest price ever for an Australian residential property, to new money, tech entrepreneur Mike Cannon-Brookes.
The 376 lots comprise everything from Persian carpets, grandfather clocks, crystal, porcelain and silverware, tapestry, Buddha statues, chandeliers and all manner furniture, to Australian and international art.
There are some stand-out bronze sculptures by Auguste Rodin and works by Marc Chagall, Edgar Degas and other European greats – but you will have to bid at Bonhams in London for those.
In the Sydney auction however, there is an extremely important study of the portrait of Joshua Smith by William Dobell on offer, made famous by a famous court case. You would think given the loss in a house fire of the original painting that won the Archibald Prize in 1943, this is the painting that the Art Gallery of New South Wales has to have.
The viewing is held in Sydney only from 14 to 21 September, 10 am – 4 pm, at 36-40 Queen Street and 97-99 Queen Street, Woollahra.
The auction is held on Sunday, 22 September, 1 pm, at 36-40 Queen Street, Woollahra.
You can view the catalogue also online on the Bonhams website.
Other notable offerings from the collection include works by Margaret Preston, Bertram MacKennal, Charles Blackman, so David has gone through the whole home content catalogue and chose his art “Dave’s Faves” and picking some other rather intriguing lots:
Lot 11 – Bertram Mackennal, Salome, c1895, height 29 cm, est. $15,000-25,000. Bertie’s Bronze BeautyLot 12 – Margaret Preston, Coral Flowers, 36 x 35.5 cm, est. $30,000-50,000. One to bowl you overLot 31 – Charles Blackman, The Meeting, 1961, 121 x 121 cm, est. $250,000-350,000. Paint it Black(man)Lot 180 – Patrick Hockey, Spring, 1977, 90.5 x 121 cm, est. $2,500-35,00. Nicely SprungLot 198 – George Edwards Peacock, Port Jackson, NSW, View in Double Bay, looking towards St. George’s and Middle Heads, Morning, 1847, 13.5 x 19 cm, est. $20,000-30,000. Double Peacock at Double BayLot 251 – William Dobell, Study for Portrait of an Artist (Joshua Smith), 1943, 36 x 25.5 cm, est. $200,000-300,000. Get in quick B4 AGNSWLot 216 – Sali Herman, Portrait of Warwick Fairfax, Esquire, 1941, 72 x 52 cm, est. $30,000-50,000. Can’t believe it’s not FreudLot 220 – Vic O’Connor, The Acrobats, 1941, 60 x 75 cm, est. $15,000-20,000. Enjoy a TumbleLot 226 – Russell Drysdale, Solider rolling a cigarette, 19 x 19.5 cm, est. $4,000-6,000. Don’t stop smokin’Lot 227 – Russell Drysdale, Soldiers applying a Bandage, 17 x 26 cm, est. $4,000-6,000. I dig these DiggersLot 221 – Andrew Lawlor, Nude in Archway (Banner of Blood), c1940, 55 x 44 cm, est. $8,000-12,000. Not quite lawlessLot 232 – Hans Heysen, The Farmyard, Frosty Morning, 1926, 70 x 90 cm, est. $80,000-120,000. Where to begin … well it won the WynneLot 233 – Elaine Haxton, Woolloomooloo, 34 x 42 cm, est. $8,000-12,000. Not exactly a hullabaloo at WoolloomoolooLot 234 – Sali Herman, A Western Hotel, Cobar, 1947, 53 x 74 cm, est. $20,000-30,000. Cobbers at CobarLot 331 – Arthur Boyd, Lovers, c.1962-3, ceramic painting, 51 x 56 cm, est. $20,000-30,000. Fancy a night on the tiles?
Lot 128w – A life sized Steiff plush mohair “Ride on” growler bear on wheels, c1950, 90 cm high, est. $400-600. Looking for his meal – on wheels
Lot 127w – An assembled group of Victorian silver rattles, est. $800-1,200. The perfect gift for silver spoonersLot 192w – A Victorian Staghorn Inkstand, ca 1880, 39.5 cm high, est. $300-500. Oh DeerLot 223w – A crocodile skin vanity case with silver accessories, Drew & Sons, Piccadilly Circus, London, 1903, est. $500-800. Be the snappiest dresser everLot 251w – A French empire maple giltwood and gesso concert harp, early 19th century, by Sebastian Erard, once in the ballroom of the Pierre Hotel Fairfax penthouse New York, est. $1,500-2,000. It’s never too late to learn something newLot 317w – An assembled group of Italian table ornaments, Brandimarte Firenze and others, with a pair of angel form table bells, 2 pairs of metal salts in the form of horse drawn chariots with putto and 18 cherub form place card holders (24), est. $400-600. Have you seen the salt, darling?
The Menzies Fine Art Auction on 26 September in Sydney promises some very nice offerings among the 120 lots.
Lot 4 – John Peter Russell, Still Life Interior Scene, 36 x 51.5 cm, est. $4,000-6,000. Rare Still Life from Artist Always on the MoveLot 9 – Banksy, Trolleys, 55.5 x 76.5 cm, est. $15,000-20,000. Thank you for shopping at ColesLot 10 – Tim Storrier, The Evening Line, 40 x 50 cm, est. $15,000-25,000. Come on Baby light my fireLot 19 – Eric Wilson, Still Life, 59.5 x 49 cm, est. $22,000-28,000. Excuse me, I’m just having a Pieter Claesz momentLot 21 – Rick Amor, The Returning Storm, 81 x 100 cm, est. $30,000-40,000. I would like this Storm in my TeacupLot 30 – John Olsen, Evening with Passing Wildflowers, 135 x 150.5 cm, est. $100,000-150,000. One to go wild forLot 31 – Andy Warhol, Mick Jagger, 110 x 73.5 cm, est. $35,000-45,000. You can’t always get what you want … or maybe you canLot 34 – Rick Amor, The Waiter, 130 x 100 cm, est. $150,000-200,000. Well what are you waiting for … bid!Lot 36 – William Robinson, Goomoolahra with Butterfly, 122 x 183 cm, est. $250,000-350,000. Billy BoilsLot 38 – Howard Arkley, Room with Pink Chair, 150 x 120 cm, est. $350,000-450,000. Quality Home FurnishingsLot 42 – Emily Kame Kngwarreye, My Country, 211 x 153 cm, est. $160,000-220,000. Escape to the CountryLot 45 – Charles Blackman, Mr Rabbit reads to Alice, 133.5 x 378 cm, est. $90,000-120,000. That Old Blackman MagicLot 52 – Sidney Nolan, Kimberley Landscape – Prince Regent River, 182 x 160 cm, est. $50,000-70,000. Nolan’s Rolling LandscapeLot 54 – Sidney Nolan, Kelly, 63 x 51.5 cm, est. $32,000-40,000. Time for a Heads UpLot 63 – Phillip Piperides, Stepping Bather, 171 x 57 x 64 cm, est. $24,000-30,000. Don’t get pipped at the postLot 71 – William Robinson, Chooks, 55 x 74.5 cm, est. $20,000-30,000. Finger lickin’ goodLot 81 – Albert Namatjira, Central Australian Landscape, 26 x 37 cm, est. $12,000-16,000. Visibility today 25 kilometersLot 83 – Hans Heysen, Ploughing, 24.5 x 36.5 cm, est. $10,000-15,000. Time to cultivate your interestLot 100 – Euan MacLeod, Figure and Light Rock, 50.5 x 76 cm, est. $3,000-5,000. Rock SolidLot 113 – Norman Lindsay, Study for Reclining Nude, 24 x 37.5 cm, est. $5,000-8,000. Pencilled PassionLot 122 – John Olsen, Frog, 15.5 cm height, est. $6,000-8,000. Catch me if you canLot 123 – Pablo Picasso, Couple et Voyageuse, from La Serie 347. 22.5 x 29 c, est. $4,000-6,000. Picasso for PeanutsLot 125 – Brett Whiteley, Lavender Bay Wharf, 60 x 50 cm, est. $7,000-10,000. Not much to pay for Lavender Bay
The Deutscher + Hackett fine art auction on 28 August features very important artworks from two outstanding art collections.
These collections span two very different, yet important times in Australian art history: early modernism and contemporary Australian art, and complement each other beautifully in our view. They are also both great examples in how to collect art in a considered fashion.
The first 36 lots are made up from the Ken and Joan Plomley Collection of Modernist Art, and feature the linocuts from the Grosvenor School – think Claude Flight, Cyril Power, Ethel Spowers or Evelyne Syme -, and outstanding works Margaret Preston and Roy de Maistre, a distant relative of Ken Plomley. You’ll also see a number of wonderful watercolours by Queenslander Kenneth MacQueen, and a sprinkling of Roland Wakelin, Grace Cossington Smith and Lloyd Rees.
The catalogue essay is well worth reading (who knew that Roy de Maistre’s father Etienne was a famous horse trainer who won the Melbourne Cup five times?)
Lots 55 – 71 feature works from the pARTners Art Collective, assembled by a group of Melbourne collectors between 2006 and 2016, striving to put together a museum quality collection of contemporary Australian art. Included are works by urban Aboriginal artists Gordon Bennett, Brook Andrew and Danie Mellor, and photorealistic paintings by Sam Leach, Natasha Bieniek and Juan Ford.
Other outstanding paintings include a striking Jeffrey Smart, a sublime Fred Williams, two 1950s Charles Blackmans from his Schoolgirl and Alice series and a large psychedelic Howard Arkley Australian dream … be prepared for a rather extensive “Dave’s Faves”!
Go and view the 130 lot strong sale in person if you can:
– in Melbourne, 105 Commercial Road, South Yarra, from 15 to 18 August
– in Sydney, 16 Goodhope Street, Paddington, from 22 – 28 August
The auction is held on Wednesday, 28 August, 7 pm, at the Cell Block Theatre, National Art School, Darlinghurst.
If you are looking to advance your art collection in a meaningful way, get in touch with us for discreet and independent pre-purchase advice, bidding at the auction and after-purchase management.
Email us at info@bhfineart.com or phone 02 9977 7764 to discuss how we can assist you in your collecting journey.
Dave’s Faves for the D+H Auction on 28 August are:
Lot 1 – Roy de Maistre, Gerberas, 1926, 76.5 x 51 cm, est. $80,000-120,000. Your own permanent flower showLot 7 – Roy de Maistre, Interior (Sam Courtauld’s Villa, France), 1948, 61 x 51 cm, est. $60,000-80,000. Play it again, SamLot 9 – Margaret Preston, Indoor Still Life, 1913, 53.5 x 65.5 cm, est. $150,000-200,000. Life before smashed avocado and chia seedsLot 16 – Cyril Power, The Tube Station, c1932, 26.5 x 29.5 cm, est. $25,000-35,000. Don’t miss this train!Lot 20 – Ethel Spowers, Melbourne from the River, c1924, 19 x 22.5 cm, est. $10,000-15,000. Take your pick – Power or SpowersLot 33 – Kenneth MacQueen, Early Morning, 1934, 37 x 41.5 cm, est. $8,000-12,000. This should be on your horizonLot 39 – Roland Wakelin, Hotel Scene, c1950, 102.5 x 121 cm, est. $45,000-65,000. Must be al denteLot 40 – Arthur Boyd, Berwick Landscape, c1948, 51 x 61.5 cm, est. $45,000-65,000. Boyd Berwick BeautyLot 41 – Sidney Nolan, Dust Storm over Darwin, 1951, 75 x 106 cm, est. $80,000-120,000. Tropical dust bowlLot 45 – Fred Williams, Silver Landscape, 1968, 88.5 x 106.5 cm, est. $380,000-450,000. This silver landscape is pure goldLot 49 – Ben Quilty, Crash Painting, 2010, 140 x 190 cm, est. $60,000-80,000. Quilty invents the crashscapeLot 50 – Dale Frank, When asked how he acquired his fine collection of French empire clocks…., 2005, 200 x 200 cm, est. $30,000-40,000. ClockophonyLot 54 – Cressida Campbell, Milton Par, 1989, 71 x 75.5 cm, est. $40,000-60,000. Garden of Earthly Delights (thanks to Bosch)Lot 57 – Danie Mellor, Bayi Dambun (Glades of Dusk and Shade), 2014, 100 x 120 cm, est. $25,000-35,000. Streeton had his blue, Klein had his blue – and Mellor has his tooLot 63 – Jan Nelson, Walking in Tall Grass, Lucy 2, 2010, 77.5 x 59.5 cm, est. $12,000-16,000. Invitation to contemplationLot 66 – Kate Shaw, Björk (Birch), 2013, 60 x 180 cm, est. $4,000-6,000. Perfection in reflectionLot 68 – Gwyn Hanssen Pigott, Cluster with Purple Beakers, 2011, 8 pieces, 33 cm width, est. $5,000-7,000.Lot 72 – Attributed to Frederic Hardwicke, Fanny Hardwicke: A Native with a Ringtailed Possum, Van Diemen’s Land, c1822-24, 27.5 x 22 cm, est. $20,000-30,000. Hello Possums!Frederick McCubbin, View from Mount Macedon, c1907, 35.5 x 51 cm, est. $60,000-80,000. Majestic McCubbinLot 82 – Clarice Beckett, Summer Morning, Beaumaris, 22 x 31 cm, est. $15,000-20,000.Lot 102 – Olive Cotton, Teacup Ballet, 1935 printed 1991, 35 x 28 cm, est. $10,000-15,000. Time for a cuppa?Lot 104 – Eric Wilson, Street Scene, c1937, 46 x 72 cm, est. $10,000-15,000. Neat StreetLot 108 – Lloyd Rees, Sydney Harbour, 1933, 18.5 x 26 cm, est. $15,000-20,000. No devil in this detailLot 111 – Ludwig Hirschfeld-Mack, Abstract, 1956, 18 x 24 cm, est. $2,000-3,000. Important German Bauhaus artistLot 120 – Noel McKenna, Unplaced Effort, 1992, 40 x 50 cm, est. $5,000-7,000. Just horsin’ aroundLot 122 – Brook Andrew, Ignoratia (Kookaburra), 2003 (from “Kalar Midday” series), 124 x 200 cm, est. $12,000-16,000.Lot 130 – Murray Griffin, Magpies (1), 1932, 15 x 20.5 cm, est. $2,000-3,000. The pies have it
Among the 87 lots offered at Sotheby’s sale of Important Australian Art on 27 August, there are several multiple offerings from a number of Australian masters – including not surprisingly Arthur Boyd, Hans Heysen, Sidney Nolan, Arthur Streeton, Norman Lindsay and William Dobell.
More surprising perhaps is the appearance of four works by Cressida Campbell. But on reflection, given recent auction results demonstrating her status as the current darling of the contemporary art market, perhaps not.
There are some extraordinary museum-quality paintings in this sale, and David has put some of them together for our “Dave’s Faves” below.
You can view the paintings in person at:
– in Melbourne at 14-16 Collins Street, from 13 – 18 August
– in Sydney at 30 Queen Street, from 22 – 27 August.
The auction is held on Tuesday, 27 August 2019, 6.30 pm at the Hotel Intercontinental in Sydney.
For independent advice and intelligent due diligence prior to purchasing, contact us if an artwork has caught your eye.
We will be attending the auction on the night, representing clients discreetly, and can therefore offer you a complete professional auction service prior, during and after the sale. Simply email us at info@bhfineart.com or phone 02 9977 7764 for more information.
And Dave’s Faves for the Sotheby’s Auction on 27 August in Sydney are:
Lot 1 – Brett Whiteley, Blue Painting 1960, 64.5 x 65.5 cm, est. $55,000-70,000. “Kind of Blue” 1959 (with a nod to Miles Davis)Lot 5 – John Olsen, Spring (2002), 191 x 100 cm, est. $60,000-80,000. Put a “Spring” in your StepLot 6 – Fred Williams, You-Yangs Landscape (1966), 66 x 57 cm, est. $55,000-65,000. Yes, You-Yang!Lot 13 – Howard Arkley, Rococo Rhythm 1992, 173.5 x 138.8 cm, est. $800,000-1,000,000. This is no time for a Captain SnoozeLot 7 – Cressida Campbell, Interior with Cat 2010, 92 x 50 cm, est. $100,000-120,000. Cat Got The CreamLot 15 – Margaret Preston, Still Life 1917, 64.3 x 53.7 cm, est. $100,000-150,000. Oranges are not the only fruitLot 20 – Arthur Streeton, Towong Gap (1930), 63.9 x 76.3 cm, est. $100,000-150,000. Is that a Ford Model or a Model-T Ford?Lot 22 – Ethel Carrick, The Market 1919, 75 x 100 cm, est. $1,200,000-1,600,000. Well, are you in the market or aren’t you?Lot 29 – Eugene von Guerard, Lake Wakatipu, with Mount Earnslaw, New Zealand (1877), 34.7 x 62.1 cm, est. $100,000-150,000. Eugene at his PeakLot 45 – Sidney Nolan, Kelly Study VI, 1962, 152.7 x 122 cm, est. $220,000-280,000. You might need to put up a fight for this oneLot 47 – Tim Storrier, Incendiary Line, 137 x 290 cm, est. $120,000-160,000. All Fired UpLot 48 – Arthur Boyd, Shoalhaven with Cockatoo, 38.5 x 30.5 cm, est. $15,000-20,000. Cock-a-hoop CockatooLot 53 – Arthur Boyd, Irrigation Lake, Wimmera (1980), 91.5 x 122 cm, est. $100,000-140,000. Back a Winner with WimmeraLot 58 – Margaret Preston, Wheelflower (1929), 44 x 44.3 cm, est. $35,000-45,000. Not Wallflower – Wallpower!Lot 59 – Cressida Campbell, Still Life with LIlies and Ranunculus (2006), 107 x 66.7 cm, est. $50,000-70,000. If you seek the UniqueLot 61 – Nora Heysen, A Study 1931, 47.5 x 53 cm, est. $30,000-40,000. Best Thing since Sliced BreadLot 62 – Hans Heysen, Approaching Storm with Bushfire Haze 1913, 55 x 73 cm, est. $35,000-45,000. Bushies escape the BushfireLot 63 – Hans Heysen, White Gums. A Study, 30.2 x 38 cm, est. $2,000-3,000. Monochrome Magic for not much MoneyLot 70 – Russell Drysdale, Man with Ram (1941), 30.3 x 22.7 cm, est. $25,000-35,000. Once owned by Dr. Joseph BrownLot 71 – Sidney Nolan, Headland 1964, 122 x 122 cm, est. $60,000-80,000. One small Step for SidneyLot 76 – Lin Onus, Guyi Buypuru (Fish and River Rock) (1995), 91 x 121.5 cm, est. $150,000-180,000. How Many 👍 Likes for Lin?Lot 78 – William Robinson, Tea with Rock Cakes 2014, 30.7 x 35.7 cm, est. $25,000-35,000. Rockin’ RobinsonLot 81 – Dale Frank, His Talent Was Like Being Stuck Behind a Long Vehicle 2012, 200 x 260 cm, est. $30,000-40,000. I rather like being stuck behind this long vehicle
Numerous hammer prices at multiples of the estimates, auction records for six female artists, and a number of sleepers made for a very exciting auction for both sellers and buyers at Davidson Auctions’ Fine Art sale on Sunday, 21 July 2019.
Robert Davidson, principal of the highly respected and well regarded Sydney boutique auction house, was delighted with the level of interest and results achieved: “I had lots of new of new buyers, in the room, on the phone and online”, he said.
As reported previously on AASD, David Angeloro’s collection of Australian Women Artists created a buzz, and the results are testament to this, with a number of new auction records set for many female artists who were not as well known as they might be. With auction results like these, then clearly more focus is warranted on a great many forgotten women artists of the late 19th and early 20th century.
Christine Asquith Baker is a case in point. Both paintings in Davidson’s sale sold very successfully and way above their estimates. On estimates of $600 -1,000, River Landscape, likely the Yarra (Lot 102) sold for a spectacular hammer price of $15,000, setting a new record price for the artist.
A stand-out of the sale was Ina Gregory’s Four Art Students, Charterisville, c1897 (above): estimated at $4,000-7,000, it sold for almost twice the high estimates for $13,000 hammer, setting a new record price at auction for the artist.
Elaine Coghlan’s mesmerising Self Portrait (Lot 105), also achieved a highest price for the artist, but still a modest $3,000 hp.
Sybil Craig’s beautiful still life Chinese Jar and Black-Berry Leaves, 1934 (Lot 112) with an estimate of $800-1,200, sold for an impressive $5,000 hp, whilst Jessie Laver Evans delightful Little Wanderers (Lot 117 ), estimated at $800-1,500 sold nicely at $2,250 hp.
Another stand-out of the sale was Ina Gregory’s Four Art Students, Charterisville, c1897 (Lot 120): more generously estimated at $4,000-7,000, it sold for $13,000 hp, almost twice the high estimate, also setting a new record price at auction for the artist.
No surprise that Elaine Haxton’s colourful and evocative Boathouse, Pittwater, c1960 (Lot 123), should sell well above expectations of $5,000-8,000 for $10,000 hp.
The much darker but joyful image by Constance L. Jenkins titled The Jade Dog (Lot 129) sold well and mid-range of its estimates of $4,000-7,000 for $5,000 hp, and still setting an artist’s record.
A great result and record price was also achieved for Alice J. Muskett’s serene The Horse Ferry (Sydney Harbour), 1908 (Lot 137). On estimates of $1,500-2,500, strong bidding more than doubled the high estimate, selling for $6,000.
Lilla Reidy’s Autumn Leaves, Fitzroy Gardens, Melbourne (Lot 145 ), was offered on very modest expectations of just $700-1,200, but brought buyers into full bloom, selling for the mighty price of $19,000 hp, and yes, another auction record price for a female artist.
Florence Rodway’s Profile Portrait of a Woman in fur-lined Coat (Lot 146) comfortably sold above its high estimate of $2,500 for a hammer price of $3,250, as did Jessie Traill’s Lantern Light (Lot 153), selling for $6,500 hp or close to three times its high estimate of $2,250.
Not to leave the men out completely: an excellent price was achieved for John Ford Paterson’s Esplanade, St. Kilda, 1893 (Lot 188), also from David Angeloro’s collection and estimated at $1,800-3,500. It eventually sold for almost four times the high estimate at $13,000 hp.
Davidsons also produced a number of international “sleepers”, and it certainly paid off for a number of bidders near the end of this sale. French artist Christian Caillard’s Village at Belle-Isle, 1939 (Lot 389A), estimated at $300-500, sold for $2,500, whilst Croatian artist Edo Murtic’s Fugitive House, 1999 (Lot 390), with expectations of $1,200-2,500, escaped to sell for $6,000.
Still in Europe, Dutch artist Hermanus Koekkoek’s Figures on a Shore (Lot 404), carried estimates of $2,000-4,000, but bidding sailed out to sea to $9,500 hp.
Also in Europe, it was a comparable result for George Hyde Pownall’s (British) highly atmospheric (or perhaps polluted given when it was painted) Below Tower Bridge (Lot 411), estimated at $2,000-4,000. The smog lifted as did many hands, selling for a whopping $9,000.
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