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Updates on the art world and the art market Read here our stories from the art world and the art market. You can also join the mailing list to receive alerts for our art updates directly to your inbox. 17 November 2008: For Limited Release - the Best Paintings from the Manly Art Gallery & Museum Collection  Opening night of the exhibition:Nicholas Vickers, Curator Delmar Gallery; Chris Deutscher, Executive Director Deutscher + Hackett Fine Art Auctioneers; Brigitte Banziger and David Hulme of Banziger Hulme Fine Art Consultants and Sarah Johnson, Curator Manly Art Gallery & Museum 13 November 2008: Exciting Fine Art Auctions in Melbourne Next Week I have four art auction catalogues on my desk. There is always a selection of very special offerings to be found in their pages, so I thought I would share some of them with you. All four sales are happening in Melbourne between 23rd and 26th November: Mossgreen Auctions, Bonhams and Goodman, Sothebys and last but not least Deutscher + Hackett. If you would like any advice or assistance with any of the works, please do not hesitate to contact us – info@bhfineart.com or phone 02 9977 0700. Mossgreen Auctions are holding a mammoth sale of 1352 lots – 350 lots of this sale are from the estate of the late Graham Cornall, a Melbourne antique dealer and unusually all to be sold without reserve. Perhaps only a quarter of this sale is dedicated to pictures, so let’s have a look at some highlights and interesting stuff. The big pictures of this sale are the first 38 lots: Lot 10 by Tracy Moffatt, Something More, No 1, 1989, is this artist’s best-known image. The photograph is not shown in this auction catalogue, however Mossgreen have taken the imaginative step of producing their own stencil of the image to illustrate the work. Dependent on the estimate on this one, it should provide big interest: Charles Blackman’s “The Bouquet” from 1959, purchased from the Antipodean exhibition in 1959. Looks like a stunner to me. In the international section at Mossgreen, we find a most appealing sculpture by Max Ernst, edition 26/35, and at $ 3,000 to $ 5,000 looks like a bargain. Lots 1014 and 1015 are an excellent pair of lithographs by Henry Moore. They are small at 30 x 22.5 cm, but unmistakeably Moore, very pretty and with estimates of $ 1,500 to $ 2,500 good buying. I also rather like lot 1016: ‘Le Port de Grandville’ is a very appealing watercolour by none other than Paul Signac with impeccable provenance, estimate $ 10,000 to $ 15,000 – will no doubt go overseas with our dollar, but worth competing against British dealers for. Francis Bacon is flavour of the month. Here is a chance to pick up one of his original coloured lithographs for a tiny fraction of the amount of one of his paintings. ‘Triptych’, a work from 1976, sold in May 2008 at Sothebys New York for US$ 77 million. Lots 1017 to 1023 are all Francis Bacon works on paper, with estimates from $ 2,000 to $ 10,000. My favourite has the lowest estimate: lot 1022 ‘Bullfight’, $ 2,000 to $ 3,000. Finally a rather charming image by Henry John Yeend-King ‘ Boys fishing from the Pier in Looe, Cornwall’, oil on canvas, has an estimate of $ 25,000 to $ 30,000. Next Sotheby’s sale is to be held on Monday, 24th November. Sotheby’s have been commissioned by the Art Gallery of New South Wales to sell a very large Brett Whiteley, lot 23, titled ‘Balmoral’; it consists of a number of his contorted sunworshippers stretched out on the beach. At 180 x 204 cm and with that provenance, it will be interesting to see where this one goes – estimate $ 700,00 to $ 900,000. No doubt the TV cameras will be there to let us know. All proceeds go towards the purchase of the new AU$ 16 million Cezanne for the Art Gallery of NSW. Sticking with the Francis Bacon theme, lot 69 is titled ‘Francis Bacon’s Studio’ – yes interestingly, this work is by our very own Roy de Maistre, estimated at $ 60,000 to $ 80,000. There are six works by Roy de Maistre from this private collection in Switzerland. They include an unappealing portrait of Francis Bacon from 1935, hence the estimate of $ 8,000 to $ 12,000. I like lot 72 the most, also from 1935: ‘Arrested Movement from a Trio”, it’s all about de Maistre’s forte colour, this wonderful abstract work is estimated at $ 35,000 - $ 45,000. With 79 lots, it’s quite a short sale from Sotheby, and similarly with the Bonhams and Goodmans sale scheduled for 25 November with just 55 lots. Keeping it short and sweet is obviously Geoffrey Smith’s intention here. It works well. Of course it starts off brilliantly with lot 1, about as poignant as you can get: A.J. Daplyn’s ‘Bad News from the Bank”, 1884, estimated at $ 8,000 - $ 12,000. Times don’t really change, do they? A cracking picture is John Peter Russell’s lot 8, ‘Sydney Harbour’, oil on canvas, 50.6 x 70.5 cm; vibrant and so full of life and colour – a great picture, and estimate is on request. A great price – no doubt. I just can’t help it. Although I generally find will Ashton’s paintings of Australia bland and boring, his European works always offer us engaging subjects, great composition and brilliant light. His works come onto the market regularly and with such low prices. Lot 10 is titled ‘Capri’, 1926 with an estimate of $ 4,000 to $ 6,000. If you want to start a collection – with Will Ashton’s European pictures you can’t go wrong. You don’t need me to tell you that lot 14 is an absolute corker of a painting by William Dobell, ‘Cockney Kid with Hoop’, 1936, estimate $ 250,000 to $ 350,000. Wow! This should do very well indeed. The highest price paid at auction for a work by Robert Dickerson is $ 112,800 including buyer’s premium, also by Bonhams and Goodman in August 2008, for ‘The Waiting Room’, 1955. Will their lot 20, ‘Boy in Street’, from 1954 break this record? It’s the same size at 122 x 91.5 cm I don’t think so, but it could get pretty close. The estimate is $ 90,000 to $ 120,000. I generally like Ray Crooke’s earlier darker and moodier works. Lot 43 from 1987 however should appeal to many for its composition, colour and size, with an estimate of $ 25,000 to $ 35,000. It will exceed comfortably. Something more of ‘Something More’, lot 45. If you didn’t manage to purchase Tracey Moffatt’s photograph at Mossgreen, then you can try your luck at Bonhams and Goodman – or perhaps you would like the two. The illustration of the work has been allowed here, so no imagination required. The estimate is $ 60,000 to $ 80,000. Finally let’s have a look at the last sale of this auction-filled week: Deutscher + Hackett on 26th November. I have been a fan of James Gleeson’s early surrealist work ever since I saw the exhibition of the Agapitos and Wilson collection at the SH. Ervin Gallery in Sydney. Sadly, both Mr Agapitos and Mr Gleeson have passed on; fortunately, the art lives on. Lot 1 for me is a proper tribute to Gleeson’s talent. Gritty and full-on, ‘The Betrothal of Two Classic Edifices’ from 1943 is wonderful – and a great title, too. Beat that one, Damian Hirst! The estimate is $ 25,000 to $ 35,000. Considering Australians’ obsession with sport, it is surprising how little sport seems to be portrayed in art. When it is, it can be done amazingly well. Lot 9 by John Brack works brilliantly: ‘Footballers’, 1956, conte on paper, estimated at $ 55,000 to $ 75,000. Keeping nicely with the sport scene, how about this: Yes, lot 16 is an illustration by Norman Lindsay. This is just such a fabulous picture. It portrays the boxing fight between Jack Johnson and Tommy Burns on Boxing Day 1908 and really breaks the mould on prices for illustration. If anyone can do it, Lindsay can. His illustrations normally sell for around $ 2,000. This watercolour has an estimate of $ 25,000 to $ 30,000 but could do much better, I suspect. If you want iconic, look no further: lot 18, Charles Meere Studio, ‘Australian Beach Pattern’, 1940, estimate $ 180,000 to $ 220,000. eX de Medici has well and truly arrived on the secondary market. Watch lot 29, ‘A Cool hand with the dice / Biggie’, 2007. A spectacular work, priced at $ 50,000 to $ 70,000, it deserves to do spectacularly well. There really are some wonderful pictures in this sale. I also like Peter Booth’s painting from 2005: lot 35, Figure in Olive Jumper, estimate $ 80,000 to $ 120,000 and Noel Mckenna’s ‘Children’s Ride’,1989, lot 37, estimate $ 7,000 to $ 9,000. As a major Ben Quilty fan, I cannot ignore lot 38. Nothing significant of Quilty’s work has yet appeared on the secondary market until now. The Torana series made his name. This oil on canvas, 85 x 80 cm from is a knockout – I want it! It’s conservatively estimated at $ 15,000 - $ 20,000. Rarely do we see the work of George Rayner Hoff, unless we visit the Australian War Memorial or the Art Gallery of NSW. Lot 53 ‘Hercules, Deinanira and Achelous’, 1920, is an exquisite work and conservatively priced with an estimate of $ 6,000 to $ 8,000. Lots 124 to 130 are all conservatively priced original Norman Lindsay etchings from $ 3,000 – worth a look! 5 November 2008: Is this the world’s first virtual art museum? Is this the world’s first virtual art museum? We don’t know that for sure. What we do know is that our client wanted to do something different with his collection that is focused on contemporary Australian artists. He is interested in sharing, and having the opportunity to place his collection online for anyone to see really excited him. Also, he felt that he would become more involved and engaged and that he would see his art collection develop in different ways. So we have just launched his showcase website on www.theartcollectorseye.com.au Since we have been putting together the site, our client has indeed been influenced by his own approach. He notes that it has made him think more in-depth about the works he collects and that he started to collect more experimentally and radically. The famous 20th century art dealer Joseph Duveen produced fantastic publications on the art collections of his clients John D Rockefeller, Andrew Mellon and Henry Frick. Creating lavish catalogues of private or public collections is expensive, and access is of course very limited. The latest trend are entire museums set up by private collectors - previously they would have donated their collection to a state gallery and have a room dedicated to them. An example in Australia of this very costly enterprise is the ‘Museum of the New and Old’ for the collection of David Walsh in Hobart, Tasmania, due to open in 2009. Just as many public art galleries now place their collections online, we see it as a natural progression that private collectors should want to make their collections easily accessible and for a worldwide audience. In this way, the collector can invite feedback and discussion that perhaps a commercial gallery cannot with their own artists. We believe that there is enormous scope for development in this field. Our collector of the artcollectorseye.com.au chooses to remain anonymous. He regards this website as not about him, but places the art and the artists at the center. This virtual museum of contemporary Australian art is about the relationships between the art, the artist, the art collector and the gallery and aims at giving visitors ideas on how to develop their own eye. The website exhibits the works in the collection – among them paintings by well-known Australian artists Tim Storrier, Aida Tomescu and eX de Medici, emerging talents Simon Kennedy, Daniel Truscott and Alan Jones, as well as Aboriginal artists Lily Kelly Napangardi and Walangkura Napanangka - with the personal views of the collector. He also talks about the influences in his collecting and the way he buys. Artist’s biographies, media articles and links to art galleries and publications complement the website – which is of course a work in progress, just as the collection itself. Feedback is invited, and so are reciprocal links. 31 October 2008: Victorian Beauties Our clients often consign an interesting array of works for us to sell on their behalf. We thought we would display these two portraits as they are such delightful pretty works. Consigned from a Japanese collection, they represent everything that is truly Victorian. The works will be sold at Davidson Auctions, Annandale, on 15 November 2008.   Louis-Marie Schryver Abbey Altson Love's sacrifice, 1902 Portrait of a pretty maiden oil on board, 34 x 26 cm oil on board, 60 x 49.5 cm 29 October 2008: New Homes for Paintings We are delighted to have been involved in the distribution of a number of drawings and watercolours to the Australian War Memorial in Canberra and the National Art School in Sydney. The niece of artist Les Campbell, who was a CRTS student, has donated almost 30 of his life drawings to the National Art School in Sydney. The Australian War Memorial has made a purchase of six watercolour paintings from 1945 produced during Campbell’s wartime service in the Northern Territory.  A number of his other wartime drawings and watercolours are to be sold at an upcoming fine art auction on 15th November at Davidson Auctions in Annandale. To the left an example of one of the fine watercolours that are available.15 September 2008: On at Manly Art Gallery: Exhibition not to be missed - Bruce Goold The opening of the Bruce Goold Retrospective and the Manly Arts Festival was ‘Spot the Celebrity’ at the Manly Art Gallery on Friday night. There was a massive turn-out which included actors Bryan Brown and Rachel Ward. A number of well known visual artists including Garry Shead attended a stunning showcase of the works and practice of Bruce Goold. Primarily a printmaker of note, this exhibition also delves into Goold’s extensive design work and the use of his work in fabrics, including many classic Mambo designs. It’s an exhibition that can’t help but make you smile. Bruce’s humour shines through, his use of colour an uplifting experience. He is an artist who clearly cares for the environment that we live in and whose work exudes a positive take on the world around us. The exhibition is on at the Manly Art Gallery and Museum until 28 September. For more events at the Manly Arts Festival, go to www.manlyartsfestival.com Free Art Appraisals on Thursday, 18 September You can also combine your visit to the Goold exhibition with a free art appraisal – we’ll be holding valuations at the Manly Art Gallery this Thursday from 2 pm to 5 pm. Paintings, prints and photographs, both Australian and international are welcome. 29 August 2008: Far from doom and gloom in the secondary art market Just a quick few lines after the latest round of fine art auctions: it’s far from doom and gloom, and we still think the art market is doing rather well. The auctions held in Melbourne this week – Sothebys, Bonhams & Goodman as well as Deutscher + Hackett – although perhaps a little shaky, managed to shift over 17 million dollars worth of art in less than one week. And this hot on the heels of a Melbourne Art Fair reporting $ 12.1 million worth of art sales, which represents a growth of 16 % on the previous event in 2006. Sotheby’s results alone, although disappointing, do not an art market recession make. In fact, the sale of two paintings – the John Glover and the John Brack – would have made everything very rosy, adding up to 3 million dollars to their $ 6.7 million total. Let’s not forget, Sothebys also broke a new record with Russell Drysdale at $ 1.89 million. Bonhams & Goodman, for their part, would surely be far from disappointed with a result of just under 5 million dollars. You don’t break 5 artists’ auction records in difficult times. Bonhams & Goodman have created new highs for artists Penleigh Boyd with $266,400; Robert Dickerson $ 112,800; Fred Cress $ 66,000; Ida Rentoul Outhwaite $ 50,400 and sculptor Inge King $ 180,000. Deutscher + Hackett was the third cab off the rank in the sales this week and sold a most satisfactory 72% of the works offered – generally anything over 60% is regarded as good. Admittedly, their much lauded John Brack Nude was not sold on the night, but it was purchased the next day; a sale is a sale. They will be very happy with this result. We can pick at numerous statistics to make a good or a bad story. However you like to view it: almost $ 30 million worth of known art sales in just one month is a pretty good story and statistic, indicating strength in both primary and secondary art markets. 25 June 2008: A laughing young man turns out to be a serious Old Master We’d like to share with you another amazing story from the world of fine art. It goes like this: The portrait of the laughing young man - which had been in the family for over 100 years - was brought to a local auction house for sale after being rejected by a major London auction house. Auctioneers Moore, Allen and Innocent, of Cirencester, listed the small 24 x 17 cm oil on copper painting as “follower of Rembrandt”, and gave it a modest estimate of £ 1,500. At the auction however, there were two parties present believing the work was a true Rembrandt, and they were prepared and cashed up to go all the way. The battle ended at a cool £ 2,2 million, making this one of the most successful over estimate sales ever. Not surprisingly, it also produced a record sale for the auction house and the highest price for a painting sold outside London. The leading expert on the Dutch Old Master, Ernst van de Wetering, has just released his detailed analysis and it authenticates the work as an original Rembrandt. He says: ‘Brush stroke, contour, materials and the monogram all point to the master’s hand.’ This wonderful report catapults the value of this small treasure into the region of £ 15 million - and the new owner no doubt will be laughing too now. If you had been the previous owner, where would you have gone to sell a painting like this? Of course, you would have contacted your independent art broker. 24 June 2008: Exceptional Day of Art Appraisals in Newport on 21 June An exceptional day of art valuations was held at Newport Artworks on 21 June. Gary Witton, owner of Newport Artworks, commented: ‘There was a constant stream of people from 11 am until 3 pm, with many seeking advice on framing and restoration of works. ’ David Hulme, director of Banziger Hulme Fine Art Consultants said: ‘Unusually, a number works by Sidney Nolan were brought in for appraisal by different people. I am always amazed by the diversity of works that people have in art collections on the Northern Beaches.’ The appraisal days are always a lot of fun and a find this time was an unknown work by Albert Henry Fullwood (1863 – 1930). It is a major work by the artist, measuring 62 x 122 cm. The scene is of a windmill in Tasmania, painted in 1897. Fullwood painted with Tom Roberts and Arthur Streeton at Sirius Cove on Sydney Harbour and helped establish the NSW Society of Artists, before he moved to the US in 1900 and on to England in 1901, exhibiting with the Royal Academy in London and the Paris Salons. During World War I, he was commissioned to paint on the Western Front for the Australian War Memorial. 4 June 2008: Highlights of the upcoming Deutscher-Menzies Art Auctions Let’s jump right into it with the very first lot of 18 June in Sydney. We all need lots of friends – Donald Friend that is. Lot 1 is titled “The artist’s chair”, a lovely and colourful oil composition, with an estimate of $ 15,000 to $ 20,000. There are 7 other works by Donald Friend joining this sale, with plenty of collectors waiting. I am forever drawn to John Brack’s early etchings: lot 7 here is no exception. With John Brack’s works now out of reach for all but a handful of collectors, this work ‘Spectators” from 1956, number 4 of an edition of 12, is fantastic. At $ 9,000 to $ 12,000 estimate, it will fly. A recommended purchase! One to watch: lot 20 is a big test of Anna Rubin, a relatively unknown artist. “Pisces from Reef” comes with an estimate of $ 38,000 to $ 48,000 and could have a huge effect on her future prices and how her work is defined. I firmly believe that William Robinson’s prices at auction still have a long way to go, even with an estimate of $ 260,000 to $ 320,000 on lot 24 ‘Landscape and selfportrait c.1987”. Every time you think you have seen the best of Robinson’s work come up for sale, another better one appears. The consistency, beauty, composition, colour, and humour – all add up to a stunning visual force. Lot 31 from 1997 looks equally impressive from the catalogue, estimate $ 180,000 to $ 220,000. At a time when traditional paintings were much more en vogue and prior to the early 1990s art crash, Rupert Bunny’s ‘Jeanne with her terrier’, c. 1902, sold for $ 462,000 in 1988. It will be fascinating to see what happens to her as lot 26 in this sale with an estimate of $ 380,000 to $ 480,000. If there is anything that Mr Rod Menzies, Chairman of Deutscher-Menzies, is good at it’s creating a stir. By placing his own painting by Pablo Picasso, titled ‘Sylvette’, 1954, in an Australian Fine Art Auction, we are guaranteed big interest. TV cameras will be aplenty to see what happens. Should the work sell even at the low estimate, it will easily eclipse any previous painting sold at auction in Australia – the estimate is at $ 5 to $ 7 million. There will be interest both locally as well as from overseas… Art on A Plate: It’s not for everyone, but many artists have experimented with the medium of handpainting on earthenware plates. Picasso did quite a lot of this and this sale we have a few examples with mixed results: Lot 59, William Robinson, estimate $ 10,000 to $ 15,000 Lot 60, John Perceval, estimate $ 9,000 to $ 12,000 Lot 86, John Olsen, estimate $ 4,000 to $ 6,000 Not exactly plates, the four ceramic tiles by Andy Warhol look interesting, two of Marilyn Monroe and two of Grace Kelly, produced by Rosenthal Studio Line, and they come with an estimate of $ 25,000 to $ 32,000. The second day of the sale on 19 June is a bit of a mixed bag with a significant offering of Aboriginal art. Lot 202 is a lovely handcoloured etching 18/40 by Jeffrey Smart for a fraction of the price of his paintings, estimated at $ 4,000 to $ 6,000. Will contemporary Australian photography ever take off in the auction room? I don’t know, but it is still very, very cheap. Try lot 20 “The Jealous Sideswipe” from2008 by Andrew Wellman. This huge photo1 x 3 metres has an estimate of $ 9,000 to $ 12,000, and lot 281, six great images from his “Homage a Magritte” series, 2003, $ 10,000 to $ 14,000. If you are prepared to sit out to lot 341, there are also a number of fine art lithographs and screenprints by Tim Storrier, Charles Blackman, Lin Onus, Arthur Boyd and Garry Shead, with estimates ranging from $ 800 up to $ 5,000. 3 June 2008: Art Superfund Pitfalls Increasingly, we are valuing artworks included in superannuation funds. The main talk so far has been about the rules regarding the display of the artworks at the home or office of the superfund’s beneficiary. We at Banziger Hulme however are concerned about something much more elementary: where is the art sourced from? This is a very important question. When we value artworks owned by a superfund, the rules say that we have to give a market value for the works. To give an example: we have just valued some artworks by well known and well respected Australian artists with a good track record in the auction room. However, the works in question were purchased at high retail prices – when similar works could easily have been purchased through the auction room for up to half the price paid. Although there are solid gains on the values of both the artists, it will probably take many years for the auction room or market value to catch up with the retail price paid for the paintings. It’s important to remember: When purchasing works in the secondary market for superannuation purposes, they are better bought at auction with good advice from an art consultant or unbiased advisor. Contemporary art is a different matter and can be sourced from the best galleries and on occasion also in the auction room - again it’s best to seek impartial advice prior to purchase. There are a lot of different art publications and they generally focus on the primary or contemporary market. We recommend subscribing to the Australian Art Market Report for a good overview of the whole market, both primary and secondary. It’s concise and also not full of advertising... Available only on subscription http://www.aamr.com.au PLEASE seek the advice of an unbiased, independent art professional who is not an art dealer, before you proceed with any art purchase for a superannuation fund, or indeed if the purchase is with a view to investment. We can assist you with professional advice and reports so you can make an informed decision. A lot of art is sold as an investment, when in reality only a fraction of art sold fits into that category. If you want some of your art for investment, we can at least show you where and how to buy it, without getting your fingers burnt. Contact us via email or send us an art enquiry . 1 May 2008: Some ships you needn't avoid - a safe auction for every budget (see entry below...) We all hear the big auction results: A work by Ethel Carrick-Fox sells for over $ 1 million, as it did last week at Sotheby's. In fact, as much as I love Sothebys, they generally don't take any works to sell under $ 10,000. So what happens to these less valuable works? Well, they often slip into the lesser known and perhaps harder to find auctions, because of location and less advertising. Of course, these sales attract a lot of dealer interest and for instance, the sale this Sunday at Bonhams & Goodman Bay East offers some very interesting pictures at bargain prices. We thought this is a good opportunity to point out some excellent examples of what is available there. I'll go straight to the ships for starters: Lots 305, John Allcot, of the TSMV Sydney Star at Sydney 1937, estimate $ 2,500 to $ 3,500; lot 306 Joseph Frost's "Three Master", estimate $ 1,600 to $ 2,400, and lot 308 is a lovely 19th century work of a steam ship in oil, estimate $ 1,000 to $ 2,000. Lots 7 and 8 should do extremely well - both are by Lawrence Daws, both are very fine gouache on paper works priced ad $ 200 to $ 200 and $ 500 to $ 700 - absolute bargains of the sale. I have always liked Tom Garrett's monotypes - "Tuncurry", a large 30.5 x 38 cm is no exception, beautifully subtle tones and continues to be undervalued, estimate here is $ 1,500 to $ 2,000. Don't tell anyone else about this William Russell Flint etching "Women at the Seaside" because I want it. It is handsigned in ink lower right, and a lovely image. $ 200 to $ 400 - are they serious?! How long will it take for Lionel Lindsay's etchings to make more money in the auction room? "Quelltaler House", ca. 1922, is a great image, estimated at $ 300 to $ 500. Lot 177: Both Brigitte and myself were mesmerised by this stunning work by Eva Kubbos. There are two other works by her in the sale, but lot 177 is an absolute beauty. It would benefit from reframe, but at 74 x 104 cm and an estimate of $ 800 to $ 1,200, what do you want? This works deserves to sell for a lot more. Other works of interest include a pleasant Lloyd Rees handcoloured etching from 1980, lot 184, at estimate $ 800 to $ 1,200. Lot 192 is John Coburn's "Study for Exodus" 1963, it's a cracker of a work, estimated at $ 2,000 to $ 2,500 only (we want, we want, we want it...) Jan Senbergs is currently in the news - how about lot 194, Council Print from 1977, estimate $ 300 to $ 400. Lot 200 John Brack's "The Ice Skaters", 1967, this should do much better than the $ 1,000 to $ 1,500 estimate. Frank Hinder's lithograph of Jerry Lewes, lot 208, at $ 400 to $ 600 is great stuff. And I must not forget lot 2: this is a lovely image from Graham Fransella, one of only 25 produced, a large colour etching, $ 400 to $ 600. You can go to Bonhams website to view all the works on offer and if you would like more information or wish to bid, don’t hesitate to email us. 15 April 2008: Why Cruise Ships can be dangerous for Art Buyers A client came to us a few months ago asking us to produce a written report on a drawing that she had purchased on a cruise ship. Apparently the work was sold at auction on this cruise ship and the price paid was in excess of $ 20,000. This was not the first time that we have been asked about the merits of purchasing art on cruise ships. Even purchasing art in a gallery on a cruise ship has its dangers, as all clients are a captive audience – they have no opportunity to compare prices, values or seek independent advice. An auction with its contractual agreement means that there is no backing out of the sale or purchase. This serves to protect both the seller and buyer with the auction house acting as the arms-length go-between. We at Banziger Hulme Fine Art use and recommend auction houses only because these houses have an established name and can be trusted to do the right thing on behalf of their clients. Last week, we had a phone call from the Gold Coast from a gentleman who had just spent $ 63,000 on three paintings at an art auction in a hotel. He clearly felt he had purchased three paintings at bargain prices. He may well have, but to contact us after the auction is not much good, as by bidding he has agreed to purchase the artworks and this is enforceable by law. Our main problem in this particular instance is that the auctioneers allowed for just two hours viewing prior to auction. This is a completely inadequate time for anyone to make an informed decision about any purchase of art, let alone the spending of $ 63,000. We are actually quite shocked that such serious money can be spent without seeking a second opinion. Having said that, we regularly write reports for clients who are about to purchase a work of art and want an informed and unbiased view of the work they are thinking of buying, not just in terms of value and quality, but also condition and provenance of the piece and its overall standing within this particular artist's body of work. Although antique rugs are not our business, we saw an advertisement in last weekend’s Sydney Morning Herald that gave a one-hour viewing time prior to the sale. No-one should be prepared to purchase anything at auction without proper and adequate viewing times. How to spot a reputable auction house
11 April 2008: A Curator's Eye for the Catalogue Last evening, we attended the viewing for the Bonhams & Goodman Fine Art Sale on 23rd April in Melbourne. With a substantial number of the works on view, we were treated to some rare delights. Geoffrey Smith, Bonhams & Goodman’s National Head of Art, presented the highlights of these in a floor talk. Unlike other auction houses, B & G list their works chronologically. So this particular auction starts in the 1860s with ten works, all catalogued as unknown artists: two portraits of Dr. William Wills and Robert O’Hara Burke – yes, of Burke and Wills fame – by the one hand, and eight works by a different hand depicting scenes from their ill-fated expedition. Having come directly down the line of the Wills family, the provenance is certainly impeccable. The ten works carry an estimate of $ 60,000 to $ 80,000. Following are a number of watercolours by S.T. Gill who is particularly well-known for his paintings of the goldfields. My favourite amongst these is both historically interesting and a very pretty picture: ‘House of Riversdale Road overlooking Melbourne’, estimated at $ 25,000 to $ 35,000. Will Ashton’s European Work is always his best: lot 24 ‘Marseilles Harbour’ is no exception to this. His work is always good value; this one is estimated at $ 6,000 to $ 9,000. Janet Cumbrae Stewart’s pastels are consistently beautiful in their execution and composition. Lot 28 is a striking example of her work ‘Nude with Shawl” from 1927, evocative and timeless, the estimate is $ 15,000 to $ 20,000 – I think a very good buy in that range. I do very much like the landscapes of Grace Cossington-Smith, and lot 34 ‘Valley Farm” from 1937 is a fine example, estimated at $ 28,000 to $ 35,000. Lot 35 comes from a private collection in San Francisco: Margaret Preston ‘Australian Still Life” 1938. Great to see that the effort has gone into the manufacture of a reproduction of its original frame – it sets the work off perfectly which is as good an example of Preston’s work as you are likely to find. The highest price recorded on Australian Art Sales Digest for a Preston is $ 374,000 including buyer’s premium at Sothebys in 1989 for a very large work. However, three recent results - Bonhams and Goodman and Deutscher and Hackett in 2007 and in 2006 by Deutscher-Menzies – came in all at $ 168,000 inc. buyer’s premium. The estimate for the present offering is $ 80,000 to $ 120,000 - this wide estimate and the previous results suggest this work should do very well and over the high estimate. We are currently seeing a number of works by Danila Vassilieff appear, both his paintings and sculptures. Considering his place in Australian art history, his prices still seem very low compared to his contemporaries. Bonhams & Goodman have six paintings and two sculptures on offer in their sale from the estate of the artist’s wife Elizabeth Vassilieff. The estimates start at $ 6,000. The sale also includes a number of important works by Albert Tucker, which are likely to garner a lot of interest. I haven’t seen a lot of watercolours by the artist, and I am not the biggest fan of his work, but I really like lot 90 very much: ‘Man and Woman’ 1993, estimate of $ 35,000 to $ 45,000. What is great to see is that fine sculpture is becoming more established in the secondary market. Some stunning examples have appeared in the auction rooms in 2007, and this seems to be continuing this year. Lot 98, Untitled, 1999 by Akio Makigawa carries an estimate of $ 40,000 to $ 60,000. Lot 77, Joel Elenberg’s “Mask”, 1980, from an edition of 6, is estimated at $ 100,000 to $ 140,000. Watch this space – could this set an Australian sculpture record? To view works online go to www.bonhamsandgoodman.com.au, and if you would like more information or wish to bid, don’t hesitate to email us. 2 April 2008: Fresh to market pictures should excite art collectors There has been a lot of talk recently of re-selling of artworks at auction too quickly in Australia. Two auctions coming up this month go a long way to crush this perception, and as a viewer of all the important fine art auctions it’s great to see. Who would think that we have to thank Pro Hart and his estate for a new and exciting collection of pictures, accompanied by no less than the family of esteemed art patrons John and Sunday Reed of Heide fame – both consigned to Deutscher and Hackett at their sale on 16th and 17th April in Melbourne of 338 works. Sothebys in contrast has an offering of 116 lots on 22nd April in Sydney and also contains works from the collection of the late John Roberts of Multiplex. It is interesting to observe that both auction houses have used traditional paintings as their cover lots rather than more contemporary works. This is in stark contrast to the last Deutscher-Menzies and Lawson-Menzies sales, which had works by Sidney Nolan and Tim Maguire on their front pages. Tom Roberts graces the cover of Deutscher and Hackett: a full length-portrait of Miss Hilda Spong, 1893, from the estate of Pro Hart. This is a rare large work of beautiful quality to come on to the market, with a wide estimate of $ 300,000 to $ 500,000 – one to watch. Sothebys have given Ethel Carrick Fox pride of place, “Market, Under Trees” was last offered in August 1999 by Sothebys, achieving a record price for the artist with $ 266,500 inc buyer’s premium. It was later beaten by Sotheby’s again in May 2005 by “Arabs Bargaining”, which sold for $ 458,750 inc. buyer’s premium. With the movement in the market since 1999, their current estimate of $ 400,000 to $ 600,000 does not seem unreasonable. This is an exceptional and most beautiful paining – let’s be prepared for an exceptional result. There seems to be some good reasons for the Australian War Memorial to have a closer look at the Deutscher and Hackett sale. Will Ashton is a bit hit and miss in the auction room, however lot 26 is a different story “Victory Celebration, Martin Place Sydney 1919” conjures up a wonderful image and should happily reach its estimate of $ 25,000 to $ 35,000. Others of interest for the War Memorial would have to include Charles Webster Gilbert’s sculpture “Australian Solder, Maquette for Broken Hill War Memorial”, 1922. Perhaps they might have some local Broken Hill competition. Lots 161 and 162 by Iso Rae should perhaps also be looked at. Some of the standout paintings in the Deutscher and Hackett offering are: Lot 29, Bessie Davidson “Interior with Poppies”, 1935, is bound to fuel considerable interest, estimate $ 120,000 to $ 160,000. Two mesmerising portraits by William Dobell executed over 30 years apart are lot 30, ‘The Boy George’, c. 1928, estimate $ 30,000 to $ 50,000 and lot 47, ‘Emmy’, 1960, estimate $ 60,000 to $ 80,000. And for the contemporary collectors, there is lot 57, Del Kathryn Barton, ‘Making love with love’, 2004, estimate $ 60,000 to $ 80,000 – watch this bird fly! We will also see the first venture for Ex De Medici into the auction room: lot 58 ‘Godless’, 2002, estimate4 30,000 to $ 40,000. Quality and craftsmanship will no doubt win out here. It’s also good to see some strong international works: lot 64, a Henri Matisse ink drawing from 1942 with an estimate of $ 90,000 to $ 120,000. Also lot 65, the Andy Warhol colour screen print of Mao, 1972, is a great image and comes with an estimate of $ 60,000 to $ 80,000. It is about time that we experience some movement in the prices of Danila Vassilieff’s work. Well, here is a great chance with a number of works from the Reed family. Lot 87, 88 and 206 to 211 and there is even a Vassilieff from Pro Hart’s estate, lot 123, estimate $ 8,000 to $ 12,000 – should be most interesting. This is a chance to redefine the artist and his prices. The highest price for a painting by Vassilieff ‘ Fitzroy Life’ was achieved by Sothebys in August 2004, with $ 49,850 inc. buyer’s premium. Finally, there are a number of ink drawings by Joy Hester with estimates between $ 5,000 to $ 8,000 from the Reed collection, and they are sure to find new homes. Equally a number of drawings by William Dobell from the Pro Hart collection are price very favourably at between $ 1,000 to $ 6,000. Sothebys present a different, but no less rich and rewarding showing: firstly a number of fine works by Ray Crooke, and don’t be surprised if we see a new record set by their first lot ‘The Shell’, 1959, exquisite in its depiction, with an estimate of $ 50,000 to $ 70,000. The record at auction for Ray Crooke was set in 2001 for ‘Islanders, Thursday Island’, 1960, with $ 82,250 inc. buyer’s premium. And on to more juicy offerings: two divine oils by Grace Cossington-Smith – yes, they are both small, but do they shine! Lots 4 and 5 come with estimates of $ 14,000 to $ 18,000. Why do I think they might just sell for a lot more…? And there is another Jeffrey Smart – but every so often one comes along and it has just got all you ever want in a Jeffrey Smart painting. This is it. Lot 7 ‘On the beach’, San Diego, estimate $ 200,000 to $ 300,000. Two previously unknown stunning landscapes by Eugene von Guerard have emerged for the Sothebys sale: Lot 14 ‘View from Daylesford towards the Pyrenees’, c. 1864, estimate $ 250,000 to $ 350,000, and lot 58 ‘Italian Landscape’, 1847, $ 180,000 to $ 250,000 estimate. The latter comes from a private collection in Germany. The strong Aussie dollar should be helpful for the return to the vendor. And here some more works to watch at Sothebys: Lot 19, Tracy Moffat’s self-portrait, estimate $ 30,000 to $ 40,000 is simply striking – perhaps for the National Portrait Gallery? Lot 21, ‘Frogs on waterlilies’ by Lin Onus, $ 70,000 to $ 90,000. Sidney Nolan, lot 24, ‘Siege and Burning at Glenrowan’, a woven wool tapestry, estimate $ 180,000 to $ 220,000 Lot 30, a Robert Dickerson with an estimate of $ 40,000 to $ 60,000 (Deutscher and Hackett also have a good work from 1966, lot 14, $ 35,000 to $ 45,000) Again Sidney Nolan, lot 52, ‘Luna Park’, 1945 – iconic. If you had the opportunity to see his retrospective at the Art Gallery of NSW like me you might think that his earliest work was his best. Love this one, estimate $ 50,000 to $ 70,000. Coincidentally, Deutscher and Hackett also offer a Luna Park work from 1942, lot 91, estimate 4 30,000 to $ 45,000. Also, watch out for lot 55 at Sothebys, ‘St. Kilda Pier’, 1945, $ 35,000 to $ 45,000. And there are two more great tapestries, this time from John Coburn: lot 92, ‘Autumn’, estimate $ 18,000 to $ 25,000, and lot 93 ‘Sydney Summer’, estimate $ 35,000 to $ 45,000. Sothebys also offer four more excellent Ray Crookes: lot 68 ‘The Fish’, lot 102 ‘Farm Natives’, lot 103 ‘The Football Match’ and lot 107 ‘Net Fishermen’, all with estimates of $ 20,000 to $ 30,000. Well that’s about it. Any questions or comments please don’t hesitate to email or phone 02 9977 0700. If you wish to bid for anything, of course we are happy to assist; equally advice free from bias is always at hand. To view works online go to www.deutscherandhackett.com and www.sothebys.com 27 March 2008: Norman Lloyd (1895 – 1983): The Australian Artist gets new exposure and a life rediscovered on www.normanlloyd.com.au Landscape painter Norman Lloyd had a long, prolific and successful life. But not even Australia’s most respected Art Encyclopedia has got his correct birth and death dates listed. The research that went into the establishment of the website dedicated to Norman Lloyd has not only set this right, but has shed a lot more light on this largely forgotten artist and has unearthed previously unknown facts. Now we know when and where Norman Lloyd was born, and what happened to him in World War I. We hear of his life in London in the 1930s where he enjoyed increasing success as a painter and held regular exhibitions with the Royal Institute of Oil Painters. We learn about friends and acquaintances such as HG Wells, Nancy Weir, George Bernard Shaw, Will Ashton, who frequented his home in the wealthy suburb of St John’s Wood. Also undiscovered is Norman Lloyd’s connection with France, where he spent his summers from 1944 onwards until shortly before his death. The mystery of his French mistress is also revealed. The website - researched and created by Banziger Hulme Fine Art Consultants - presents Norman Lloyd’s life, CV, works and exhibitions in one easy and accessible location on www.normanlloyd.com.au. If you can contribute with information on Norman Lloyd, we would love the hear from you - send us an email. Curated Fine Art Websites There are many difficulties involved in publishing a book on an artist, with time and costs often prohibitive. Today, the internet provides a very useful alternative in creating a new view of perhaps a ‘forgotten’, ‘maligned’ or ‘undervalued’ artist. Banziger Hulme Fine Art have taken this idea on board. We want to include as much biographical information as possible about the artist with images of the artist’s works. Our research aims to uncover little known facts about the artist and encourage feedback to the site and on any additional biographical information from institutions or individuals. The interest in developing a dedicated website might come from a collector who holds an extensive collection of a particular artist’s work or from family members interested in raising the profile of the artist. For example, the development of the website www.robertmitchellartist.com.au in 2007 has directly resulted in Robert Boyed Mitchell’s works being included in an exhibition ‘Special Forces’ at the National Art School in Sydney in July 2008. 20 February 2008: Swiss-Oz Art Expo and Regional Galleries in Australia Let us tell you about a lovely exhibition coming up at the Bondi Pavilion on Bondi Beach: Swiss-Oz Art Expo, from 4 to 16 March 2008. The show presents creativity and diversity from the Swiss Australian community, supported by the Consulate General of Switzerland and the Swiss Australian Cultural Association. We were delighted to have been asked to help with the artist selection and hang the works. Over the holiday break, we were thrilled to visit several regional art galleries, with some most unexpected treasures. The Mornington Peninsula Regional Gallery had a fantastic exhibition on Aspendale - the location of the beach houses of William and Mirka Mora as well as John and Sunday Reed where many of the great painters of the 60s gathered. A beautifully curated and interesting show. The McLelland Sculpture Park is also a must if you happen to make it to the Mornington Peninsula: wonderful sculptures by Australia's best sculptors in a great outdoor bushland setting, fabulous. They also put on highly interesting indoors shows - don't miss it. Of course, when in Melbourne, we always visit the National Gallery of Victoria. The current exhibition 'Modern Britain 1900 - 1960' is on until 24 February 2008, comprising 20th century pictures by British masters scattered around Australia and New Zealand. We couldn't help but find it rather dull, as we probably expected a lot more. The Stanley Spencer pictures were not his best, however there were a few lovely Augustus John portraits, and some interesting little tidbits on artists we hadn't heard so much about. Overall, it was a very large show picture-wise, but probably lacking in overall quality. We especially felt that to throw all the war art at the end of the show was unnecessary. War art to us is never that compelling and adding to dullness with depression just made it very heavy. Where was the humour - it didn't look like British artists had much fun. In fact we can see every reason why - given this show - many artists would have emigrated to Australia... Anyway, enough of slamming 'Modern Britain' - if you missed the Sidney Nolan retrospective in Sydney, it's on in Melbourne from 22 February 2008 for a couple of months and comes highly recommended (even though he of course went on to live in England...) Another must when you next visit Melbourne is the Heide Museum of Contemporary Art, it's more than worth it, as it gives you a real sense of the relationships between ardent art supporters John and Sunday Reed and their artist friends, visiting, working and living at Heide. To name just a few: Sidney Nolan, Joy Hester, Albert Tucker, Danila Vassilieff, Sam Atyeo, Charles Blackman, John Perceval. Apart from the art, the architecture and the gardens are extra added highlights (and a great little cafe serving delicious food...) Other exciting art that we happened upon included the Ballarat Regional Art Gallery, where you can not only see the Eureka flag, but some fabulous early colonial and great 19th century Australian works. Thankfully this was continued on by James Mollison and Ron Radford in building a great 20th century collection. We are not sure if there is any regional gallery in Australia to rival their holdings - let us know... One thing which is difficult to understand is why Ballarat doesn't currently have a curator for their collection or future exhibitions. Surely a gallery of this standing needs at least one curator - up the road, Bendigo Art Gallery's website lists them as having three. Some very impressive works also at Bendigo and also in the contemporary side. Benalla Regional Art Gallery also needs to be recommended: There has obviously been some vision and foresight and exceptional donating been going on here. Outstanding early works by Eugene von Guerard, Louis Buvelot, W.C. Piguenit complement later works by Arthur Streeton, Clara Southern, Frederick McCubbin and John Peter Russell to name a few. And it doesn't stop there; gaps are filled throughout the 20th century with works by Tucker, Boyd, Perceval, Blackman, Cossington-Smith, Clarice Beckett, Peter Purves Smith, Dobell and John Brack. Contemporaries such as Brook Andrew, Brett Whiteley and Tim Storrier also feature strongly with significant works. In other news, we are very happy that the artist Robert Mitchell, on whom we built a website last year, is to be included in an exhibition with the working title 'Special Forces' at the National Art School in July in Sydney. More on that later. 3 December 2007: Update on current and upcoming art events If you would like to see David’s comments on the health of the Australian art auction market, see today’s “Australian” in our Press Articles page. We also would like to draw your attention to a wonderful exhibition which has just opened at Manly Art Gallery and Museum. Last Friday evening, we enjoyed the opening of “Harbourlife – Sydney Harbour from the 1940s to recent times”, curated by Gavin Wilson. The exhibition is on only until 13 January 2008 (after that it will travel to Macquarie University art gallery). You will be treated to some real delights, not just from the Manly Art Gallery collection, but also a good few outstanding works from the Art Gallery of New South Wales. Included are some fantastic exponents of this subject matter, featuring works by Lloyd Rees, Brett Whiteley, John Olsen, Sali Herman, John Passmore and John Firth-Smith, and wonderful photographs by David Moore. Of course, no exhibition about Sydney Harbour would be complete without the works of Peter Kingston and Fairlie Kingston. In other news, we were honoured to be asked by the Swiss-Australian Cultural Association (SACA) and the Swiss Consulate General, Sydney, to help select artists to be included in the Swiss-Oz Art Expo 2008. This will be a showcase for Swiss/Australian art, held from 4 – 16 March 2008 at Bondi Pavilion Art Gallery – we’ll keep you informed. 6 November 2007: Banziger Hulme Fine Art Consultants accepted into the Australian Antique and Art Dealers Association (AA&ADA) We are delighted to have been accepted into the AA & ADA, the leading industry body which represents antique and art dealers in Australia. The AA & ADA have a strict Code of Practice which outlines responsibility to clients. We have always worked hard to maintain the highest professional standards and ensure best practice in all our dealings with and for our clients. Acceptance into this prestigious organisation is a recognition of our efforts. Plus we are the only company on the Northern Beaches endorsed by AA & ADA. Banziger Hulme Fine Art Consultants are AA & ADA Approved Services Providers (Valuers and Consultants), NSW. 19 October 2007: We were delighted to be involved with UBS Wealth Management in a recent presentation at the National Gallery of Victoria, wonderfully organised by André Becker, Associate Director UBS Wealth Management Melbourne. Zoe Hart, Head of UBS Wealth Planning, presented tax and superannuation strategies for art and collectables, while we explained how to buy art when re-sale value is important to your art purchases. These presentations were followed up by art gallery curator Kelly Gellatly’s talk and tour through the UBS show “An Incomplete World”. It is on view until 6 January 2008 at the NGV International - and a great opportunity to experience works by international art masters such as Damien Hirst, Lucian Freud, Gerhard Richter, Roy Lichtenstein, Cindy Sherman, Andy Warhol, Andreas Gursky, Ed Ruscha and many more, and both painting and photography. 25 Years of National Gallery of Australia and the Inaugural National Indigenous Art Triennial Last Saturday saw the celebration of 25 years of the National Gallery of Australia in Canberra – quite a party and not just art, but also bands playing all over the gallery, comedians and a feast of traditional dance. Under Ron Radford, the NGA is heading in a great direction. With announcements of lots of new gallery space and a big effort to show more works, the National Gallery is entering an exciting new phase. The gallery actually holds over 100,000 works, but can show only 1% at any one time at present. So we can all look forward to see more in the future. To coincide with the 25-year celebrations, the Gallery launched the National Indigenous Art Triennial. The exhibition will go from Canberra to Adelaide and Perth and then overseas. It is a commendable initiative and an opportunity to showcase a fantastic range of contemporary aboriginal art. We found the show altogether exciting, challenging and superb in its depth, diversity and quality, with a healthy dose of politics thrown in. This could help to redefine aboriginal art in the contemporary market – “not just dot paintings”. Let’s hope that someone will be brave enough to review this exhibition with a view to its artistic merits. This is actually something sadly lacking with Aboriginal art: art journalists willing to write critically about the works for the mainstream press. Maybe this is the show to break the mould. Portraits by John Brack Also on in Canberra until 18th November is this John Brack show at the National Portrait Gallery. It is a lovely exhibition and, although you may not recognise many of the faces in these portraits, we see Brack’s most distinctive style and technique revealed beautifully from his earliest sketches to his latest paintings. On view amongst many others are intimate early and late portraits of his wife Helen and his daughters. A stunning, although untypical portrait of fellow artist Fred Williams dominates for us. However, other interesting works include a painting of art dealer Tab Purves and an early self-portrait titled “The Shaver”. A Bridge under the Bed At an auction preview recently, we were admiring a rare copy of a poster by Douglas Annand and Arthur Whitmore announcing the opening of the Sydney Harbour Bridge in 1932. Our friend we had invited along calmly announced that she had one “rolled up under the bed”. Her mother had given it to her along with another poster advertising the Winston Churchill Memorial Trust Fund, illustrated by William Dobell. We couldn’t wait to see her Bridge poster and were delighted to find it in reasonable condition. However, the poster needed some conservation work to clean and flatten it, and then sympathetic framing to bring it to its full glory. The last Sydney Harbour Bridge to come on the market sold for $ 20,400 at Deutscher + Hackett Fine Art Auctions, and our friend’s work would have to be valued accordingly. Our friend was also concerned to find an appreciative home for the Churchill poster. We contacted the National Library of Australia, which was very happy to accept this kind donation. So keep looking, you never know what you might find under the bed! 27 September 2007: Summer - Season for Selling and Buying Art The spring round of fine art auctions has just finished – and it has indeed been very successful overall, with many Australian artists’ records broken, new records set for turnovers and many great works on the market for all budgets. (Yes, you can still buy lovely artworks for under $ 1000 at auction – as usual, only the big sums make the newspaper headlines...) We are proud to report that we achieved almost a 100 % clearance rate on the works that we consigned for our clients in the fine art sales – usually, 70% is respectable . By the way, the 4 John Peter Russell watercolours all sold well on Saturday. Using a knowledgeable broker in selling art has even more advantages: better market information and more options, no time-consuming arrangements for pick-up, drop-off and paperwork, no up-front fees on consigning works (for example for photography, insurance or handling), and discretion with regards to the auction house, if required. The next auctions are now being announced for November, with consignments closing in the next two to three weeks - see Art Events for the next obligation-free appraisal day. You’ll find what other clients think of our assistance in the Testimonials and you can read about previous projects in Case histories. Contact us, if you would like an honest, independent and confidential opinion on the sale potential of your art without any obligations. We are delighted to give appraisals on all artworks and take a very lateral view when it comes to sales - and quite often we advise our clients not to sell if we believe returns may be disappointing or the timing is not right. As you know, we will always try and give you our best and most suitable advice. 18 September 2007: 4 John Peter Russell watercolours to make impression at Davidson Auctions this Saturday  Four
watercolours by Australian impressionist John Peter Russell will go
under the hammer with Davidson Auctions Fine Art sale this Saturday in
Sydney. These delightful works have been in the Russell family since
John Peter Russell painted them, and the current owner is a direct
descendant – provenance doesn’t get better than this. Interest in John Peter Russell’s work has been high in the last few years, not only due to the quality of his work, but also because of his links with many of the great European impressionists, including van Gogh, Monet, Matisse, Sisley and sculptor Auguste Rodin whom Russell commissioned to create a bust of his wife. Banziger Hulme Fine Art also recently brokered the sale of a very important painting by John Peter Russell of American artist Dodge Macknight which sold last month in Melbourne for $ 228,000 (including buyer’s premium). The four works on offer this Saturday on the other hand are priced rather modestly with estimates between $4,000 and $12,000. Date and time: Saturday, 22 September, start 12 noon, location: Davidson Auctions, 43-45 Nelson Street, Annandale NSW The illustrated catalogue will be online from Wednesday on www.davidsonauctions.com.au 3 September 2007: Auction Results: record prices for artists We are delighted to report the sale last week of two significant artworks that we brokered through Deutscher and Hackett Specialist Fine Art Auction House.  This
work “Seated Woman”, 1932 – 33, a previously unknown portrait by Rah
Fizelle came with an estimate of $ 45,000 to $ 65,000 and sold for $
93,000 including buyer’s premium – an auction record for this great
modernist artist.  The
much reviewed and admired work, also a portrait, by John Peter Russell
of American artist William Dodge Macknight c 1887, estimated at $
200,000 to $ 250,000 sold for $ 228,000 including buyer’s premium. The
previous highest price for a portrait by J.P. Russell at auction was
“Madame Russell aux Amandiers”, sold with Christies in 1997 for $
90,500. Exhibition: The Guggenheim Collection: 1940s to Now Whilst in Melbourne we were fortunate enough to visit the National Gallery of Victoria and view “The Guggenheim Collection: 1940s to Now”, on until 7th October 2007. If you are in Melbourne, we thoroughly recommend a visit. You will get to see an impressive selection of stunning contemporary works by the masters of it. Look out for some knockout works. Standouts for us included
“To test the limits of the relationship between performer and audience, Abramovic developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her. Abramovic had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were scissors, a knife, a whip, and, most notoriously, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions. Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) several people began to act quite aggressively. As Abramovic described it later: “The experience I learned was that…if you leave decision to the public, you can be killed.” ... “I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.” (Daneri, 29; and 30) (Source and quoted in: en.wikipedia.org/wiki/Marina_Abramovic). To something lighter: Jean Tinguely’s “White Moving Forms on Black Background” from 1957. We both like Tinguely’s humorous, ironic works in all forms, moving, cranking, shuffling, working away without aim or sense. Unfortunately, the one exhibited at the NGV doesn’t actually move. We looked around the back and could see a perfectly fine power cable and a plug. When we asked a couple of security guards why it wasn’t plugged in, they informed us that it didn’t have an Australian plug fitted. A bit of a lame excuse, as adapters are widely available… Having seen many works by Jean Tinguely working in Switzerland, it’s a shame – but maybe we should regard it as just another twist in Tinguely’s art… Anyway don’t miss the show if you are in Melbourne, as it is not going to any other place in Australia. Auction Preview: more interesting offerings This brings us to the latest offering from Deutscher-Menzies and Lawson-Menzies Fine Art Auctions, on Wednesday 12 September and Thursday, 13 September, in Sydney. Keeping with the theme of the masters of contemporary art, Deutscher-Menzies’ lot 25 by Damien Hirst is something of a rarity in the Australian auction room, although we are used to seeing his screenprints. With his “Diamond Skull” selling last week for $ 120 million (yes, $ 120 million, a record for a living artist), it is perhaps very good timing for this synthetic polymer paint on canvas work with the vague estimate of $ 60,000 to $ 100,000. The most interesting Perceval to surface in a long time is lot 30, titled “Adam and Eve with garlic plant”, 1955. I look forward to seeing this work in the flesh as it were – estimates of $ 160,000 to $ 200,000, and deserves to do well. I am always saying how much I prefer the 1960s work of Jeffrey Smart to any of his later work. There are two later works in the Deutscher-Menzies catalogue, but the cover lot in the Lawson-Menzies sale is to me much more appealing: lot 234, Campbell Street, Sydney, 1963, is a most interesting work, with estimates of $ 300,000 to $ 360,000. Of course, it will be interesting to see how the two big ticket items do: Lot 36, Brett Whiteley’s “Orange Fiji Fruit Dove”, 1983, estimates $ 1,250,000 to $ 1,750,000 and lot 37, Frederick McCubbin’s “Childhood fancies” from 1905, with exactly the same estimate. Our money is on the Whiteley doing better than the McCubbin. What do you think? The star lot of the night is lot 38, one of the most important Fred Williams’ works to enter the market: “Landscape with Water Ponds”, 1965-7, a big work from his best period, with an estimate of $ 1.4 to $ 2 million. I remember this Howard Arkley painting very well from the retrospective at the Ian Potter Centre in Melbourne where it was on exhibition until February this year. This particular series of works I thought outstanding, and I like them much more than his exterior works: lot 41, “Roomrite”, 1992 – 3, estimate of $ 200,000 to $ 240,000. This work deserves to do extremely well. Lot 64 “Pastoral”, by Arthur Streeton from 1930, looks rather poetic and seems to hark back to earlier times, estimates $ 100,000 to $ 150,000. Anna Eggert’s stainless steel mesh dress, lot 201, is an interesting first lot in the Lawson-Menzies sale, estimate $ 12,000 to $ 16,000. Photographic enthusiasts might get excited at a number of early prints from Max Dupain, Henri Mallard and Harold Cazneaux with low estimates from lows of $ 1,000 to highs of $ 6,000. And please take also note of some other exquisite works at the lower end of the estimate scale: Lot 313, Adrian Feint “Banksias”, 1954, estimate $ 3,000 to $ 5,000 Lot 318, Emma Minnie Boyd, “Water’s Edge”, 1907, estimate $ 2,500 to $ 3,000. Lot 433, John Loxton “The Ski Explorers”, estimate $ 2,000 to $ 4,000 And last but not least: Lot 442, John Brack “First daughter”, 1954, estimate $ 4,500 to $ 6,500 20 August 2007: Highlights from the upcoming Fine Art Auctions at Sothebys and Deutscher + Hackett in Melbourne The next two Fine Art Sales from Sothebys and Deutscher + Hackett promise an absolute feast of great art. In a bullish art market of course we are bound to see vendors tempted to sell exceptional works of art. If the stock market jitters subside, I think we are going to observe another wave of art auction records for Australian art. Sothebys on 27 and 28 August 2007 Sotheby’s offers a much more subdued and calming work by Brett Whiteley in their lot 9 work “San Gimignano” – a move away from some of the “in your face” and confronting major works offered of late. With estimates of $ 600,000 to $ 800,000, this work should do well. I have to confess that I find Jeffrey Smart’s earlier work from the 1950s and 1960s much more interesting than his later work. Lot 10 “The Park” is no exception to this, painted in 1960 and a fine work indeed. We are going to see an overall result of up to $ 16 million on the Sothebys sale. A big part of that result (and what the TV cameras will be there for) is lots 12 and 16. Of course, you couldn’t get two more different paintings, even though they are both landscapes and created 90 years apart. Lot 12 is Eugene von Guerard’s “The Great Lake, Tasmania”, from 1875 and has an estimate of $ 1.2 million to $ 1.6 million. Lot 16 “Hillside 1” was painted in 1965 by Fred Williams and comes with an estimate of $ 1.8 million to $ 2.2 million. Sothebys have already put the Williams ahead in the race with their estimates, and I am sure they are right. However, don’t discount the magnificent seascape by John Peter Russell, lot 28. As fresh as the day it was painted “Rocher Auchien, Clos Marron, Belle-Ile”, estimate $ 450,000 to $ 650,000 could do considerably better after a sale in May his year of “Boys on the Beach, Belle-Ile” at $ 1.8 million. Russell’s star is rising very rapidly indeed. If you went to see the Australian impressionism exhibition at the Ian Potter Centre you will very much appreciate our favourite lot in the Sothebys sale, lot 24 “Lone Rider”. This diminutive work measures just 25.9 x 16.5 cm and has everything you could possibly want from a work by Arthur Streeton. The estimate is $ 180,000 to $ 220,000. From 1895 let’s move to the year 2000, in fact to an artist born in 1972: Lot 33 “Storm Sequence” by Shaun Gladwell is very much a first for Australian art at auction: the very first time that a piece of video art has hit the sales room. Of course, this particular work was recently showed at the Venice Biennale. Could we see video art as a regular inclusion in the sale room? Seems doubtful but it will be very interesting to see the result of this sale, on an estimate of $ 70,000 to $ 90,000. Fred Williams’ works on paper continue to be massively underpriced, certainly in comparison to his oils. See lots 65 and 70 at $ 25,000 to $ 35,000 and $ 30,000 to $ 40,000 respectively; these are great value works. Well, I could keep going with my picks from Sothebys – I will just point out two more because they are quirky and fun: From day two of their sale, Noel McKenna’s “Clear Day” from 2002, estimate $ 10,000 to $ 15,000 and “Burke and Wills bed down for the night” by David Boyd, with the same estimates. Deutscher + Hackett on 29 August 2007 Let’s move on to the Deutscher + Hackett auction then. Deutscher + Hackett’s catalogue offers us, like Sothebys, a feeling of historical context with its varied and interesting content. This time, it also comes with an international feel. Firstly, we should declare our particular interest in two of the works in the sale: lot 1, “Seated Woman” by Rah Fizelle. We are delighted to be acting for the great niece of the artist in the sale of this previously unknown and highly significant portrait, estimate $ 45,000 to $ 65,000. Then lot 48 John Peter Russell’s “Portrait of Dodge Macknight”, c. 1887. To be representing the family of William Dodge Macknight in the sale of this work is a rare honour for Banziger Hulme Fine Art Consultants. The importance of this painting should not be underestimated: it is the only known portrait of American painter Dodge Macknight in existence and painted by John Peter Russell in the same year he portrayed Vincent Van Gogh - this work is located in the Van Gogh Museum in Amsterdam. The whereabouts of the Dodge Macknight portrait have been largely unknown until now. The fact that Van Gogh wrote to John Peter Russell (the letter is now located at the Guggenheim Museum, New York) about the fine quality of this painting adds significantly to the importance of the portrait, which comes with an estimate of $ 200,000 to $ 250,000. The works by Lucian Freud lot 23, Lynn Chadwick lot 24 and Auguste Rodin lot 25 provide the catalogue a more European flavour. Deutscher + Hackett also have a stand-out Streeton on offer. Lot 47 gives us “North Shore, Sydney”, 1892, estimated at $ 180,000 to $ 240,000. Brett Whiteley’s “Vincent”, 1968, is lot 10 and the one for the TV cameras, estimate $ 1 million to $ 1.5 million. After some extremely impressive results for John Brack’s work, Deutscher + Hackett will be pleased to have lots 17 and 18, “Roofs of Burwood” 1962 with estimates of $ 350,000 to $ 450,000 and “Two Girls on the lines”, 1977, estimate $ 80,000 to $ 100,000. I find Arthur Boyd’s three works, lots 28, 29 and 30, all particularly appealing works, and they should all do well. At the lower end of the scale, there are also some beautiful offerings: Lot 113 is a very pretty ink and wash drawing by John Glover, “Tasmanian Landscape”, at the estimates $ 3,000 to $ 5,000. Lot 138 is a very early etching by John Brack “Head of a Woman”, 1954, edition 12 / 50, estimate $ 4,000 to $ 6,000. Or what about this beautiful portrait of a girl by Janet Cumbrae-Stewart from 1923, lot 120? The pastel work has an estimate of $ 4,000 to $ 5,000. 18 July 2007: A different discovery: Robert Boyed Mitchell - a unique voice in art gets exposure on the worldwide web The next round of auctions is slowly getting underway, with all the major auction houses preparing their spring sales and of course including all the well-known names of Australian art history.  Today, we would like to present an artist you most likely have never heard of, because we think his work and life should be known to many more art enthusiasts. To be honest, we hadn’t heard of Robert Boyed Mitchell (1919 – 2002) either. But when we were privileged to enter into his world and see his very extensive body of work, we were both very excited and enthralled. And then we heard about his extraordinary life: Mitchell grew up in very modest circumstances in Cobar and Sydney, was imprisoned as a POW in Singapore and Japan, studied art in Sydney after the war, and moved to Toronto in the 1950 to be close to the emerging scene of Abstract Expressionism of New York, and then in the 1960 and 70s he lived in London with its vibrant art, fashion and music scene - we were even more moved by Mitchell’s work and were delighted to be given the opportunity to make Robert Mitchell’s art more widely known and accessible to all. One of the results is www.robertmitchellartist.com.au which we have designed and built in collaboration with the artist’s family. The website pays tribute to a great artist and showcases the talent that developed into a unique voice in art expressing the joy of life. And we are not the only ones enthused by Robert Mitchell’s art: Many respected art professionals, among them Tony Geddes, director of the Mosman Art Gallery, Therese Kenyon, director of the Manly Art Gallery and Museum, Frank Watters, director of Watters Gallery, one of Australia’s longest-serving and most respected contemporary art galleries, and Renee Free, Senior Curator of European Art at the Art Gallery of NSW 1966 to 1996, recognise the talent of Robert Mitchell and have kindly contributed testimonials to the website. The website makes wide use of Robert Mitchell’s extensive diary notes to bring his experiences and art to life, presenting an overview from the earliest drawings to his latest paintings. Photos of Mitchell’s art, his family and artist friends – among them John Coburn and Jon Molvig - and their works from the Robert Mitchell art collection give a colourful view of a life devoted to art. Robert Mitchell’s work is represented in the Art Gallery of NSW, Sydney, the Mosman Art Gallery and in private collections in Australia. If you feel like sending us a line or two, we would love to hear your comments on Mitchell’s art and the website. 11 July 2007: Judging the Warringah Art Prize Last week, David was very privileged to be invited along with sculptor Christine Simpson to judge this year’s Warringah Art Prize. With almost 300 entries, it was our task to whittle these down to a selection of around 100. After all day Sunday judging, we had decided on 93 works for the final hang. The works are of a very high standard and I must commend Warringah Council for not only an excellent community initiative, but also an extremely well organised one. I was delighted to learn after the winners were announced that the overall winner Katherine Edney is an arts student in her final year. I am sure that this well deserved win will be an important boost to the beginning of a successful career as an artist. The Warringah Art Prize Exhibition is at Manly Vale Community Centre until Sunday, 15 July 2007, 10 am – 4 pm. Entry is free and the works shown are for sale. To download the whole catalogue with details of winners and all works on show go to www.warringah.nsw.gov.au 19 June 2007: Rare Birds Fly At Davidson’s auctions on Saturday, the ten watercolour paintings of Australian birds by H. Hepburn Calvert flew out the door, achieving record prices for the artist. The owner of the works attended the sale and was absolutely ecstatic at the results. These superb examples of Calvert’s watercolours of birds sold for just under $ 40,000 (including buyer’s premium). This result was more than double the top estimate of $ 18,000 and set new records for the artist. We think that these are probably the best examples of Calvert’s work to come on to the market. We feel this helps to establish more the reputation of this overlooked and little known about artist who is now getting more recognition by specialist collectors. 28 May 2007: Birds of A Feather Flock Together  Recently,
a client showed us some rare birds indeed. The tightly rolled paper
turned out to be ten watercolour works by Australian bird painter H.
Hepburn Calvert. They obviously had been rolled up since 1919 when they
were originally painted and seemingly never framed. Finally, they were allowed to reveal their rarely seen beauty: Stunningly clear watercolours of native Australian birds, among them magpies, parrots, black swans, ducks and kingfishers. They are very large works at 96 x 65 cm paper size. The colours are as fresh, vibrant and rich as the day H H Calvert painted them in 1919, thanks to the lack of exposure to any light – which is a real rarity. It is very exciting to find watercolours of this age, almost one hundred years old, in such pristine condition and then to find ten such works is a rare treat. Little is known about painter H. H. Calvert, although a good number of his works continue to surface in the auction room and the State Library of NSW has some works in its collection. We are delighted to aid the sale of these works through Davidson Auctions on Saturday, 16 June 2007 at their Annandale premises at 43 – 45 Nelson Street. After these unknown gems, let’s go to the familiar big names of the likes of Fred Williams, John Brack, Jeffrey Smart, Brett Whiteley and Albert Tucker – who have all seen runaway prices in the auction room so far this year. Deutscher-Menzies will be all the more pleased to have significant offerings from all of these artists plus many more. The major John Brack (lot 34) is a sister painting to the record breaking ‘The Old Time’, 1969, which sold at Sotheby’s for over three times the estimate, setting an Australian record with $ 3.36 million. With an estimate of $ 800,000 to $ 1 million all eyes will be on ‘Backs and Fronts’, 1969, almost identical in size and to us a more appealing image. Albert Tucker’s ‘John Batman meets Eliza Callaghan’, 1971, (lot 27) has a reasonably broad estimate of $ 450,000 to $ 700,000. Going on recent results for the artist: who knows how far this one could go? Lot 33 – Jeffrey Smart’s ‘The City Bus Station’, 1985 – 86 is a cracker, this should go to the top estimate of $ 650,000. Lot 35 - Brett Whiteley’s recent record price of $ 2,88 million could be toppled by ‘The Olgas for Ernest Giles’ from 1985. It is a massive 213.5 x 244.5 cm, with an estimate of $ 2.25 million to $ 3.25 million. Lot 36 – Fred Williams’ ‘Lysterfield II’ from 1974 is a large work with a colour palette that will appeal to many and a price to match, with an estimate of $ 380,000 - $ 480,000. As is usual, Sidney Nolan is very well represented in this sale with 17 works, as are Charles Blackman with 12 works, Brett Whiteley with 10 and Lloyd Rees with six paintings. As the prices are rising for John Coburn, we really are starting to see some real gems come into the auction room. Lot 18 appears to be no exception to this, titled ‘White Bird’, 1972. If this work looks as good in the flesh as in the catalogue, the estimates will be well and truly smashed (estimates are $ 55,000 – $ 75,000). Lot 93 is a delightful watercolour by Julian Ashton ‘Boatman on the Hawkesbury River’, from 1883, with an estimate of $28,000 - $35,000. Lot 73 is a bas-relief bronze by George Rayner Hoff, with an estimate of $ 9 ,000 - $ 12,000. It is rare to see his work come up in the auction room. Hoff designed the War Memorial in Hyde Park and the Holden car logo (and he was born in the Isle of Man, as was David...). We are looking for another lovely watercolour to finish off. How about lot 225 ‘The Heron’s Pool’ from 1914 by Emma Minnie Boyd – Arthur doesn’t always have to get all the attention. The estimate of $ 4,000 - $ 6,000 looks promising. For previous articles, please go and check out the Archives |
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