16 June 2010
 
First Official Day at Art Basel 41: More Australian Connections
 
Some of the big names for sale at Art Basel are the German masters of the early 20th century, such as Egon Schiele, Ernst-Ludwig Kirchner and Gustav Klimt - and they are famously presented by London-based Australian art dealer Richard Nagy. He has been able to exhibit in Basel since 2005, although he says: 'It is fairly brutal, and there are no guarantees that you can exhibit in the future.'
 
Even though away for more than 25 years, Nagy still considers himself Australian: 'I have only got one passport, and that is Australian. But you can't make a a living dealing in art at this level in Australia. 99% of the Australian market consists of Australian artists, just like any other art market.' As he sees it, another obstacle for international art in Australia is that there is not the depth of wealth accumulated over many generations unlike in Europe or the USA, where there are also much larger populations. So price levels of international art are still an issue for Australian buyers. His assessment of his current Art Basel is positive: 'It is already better than 2009, plus we have a number of reserves that I hope to see converted. This year, we have seen a lot more Americans, who skipped 2009, and of course their dollar is stronger.'
 
But Australians do not only sell, they buy, too. London-based consultant Olivier Varene bought a very large charcoal painting by Alain Huck reputedly on behalf of Tasmanian art collector David Walsh. Henri-Pierre Jaccaud who exclusively represents the Swiss artist, considers it a masterpiece and works by Huck are hard to come by, selling very quickly. 'The Banquet' was bought for Euro 50,000 and is likely to go to Walsh's Museum of the Old and New opening in 2011.
 
Australian land is also on sale at Basel, well, at least a model it: 'Wrapped Coast, Project for Australia' from 1969 by Christo. The Botany Bay coastline is available at Italian gallery Tega for Euro 500,000 - and probably good value for Sydney real estate. The two accompanying mixed media works sell for Euro 170,000 each, and a bulk buy would surely get you a better deal.
 
The first official day was packed, and the general mood was buyoant, with many exhibitors and collectors emphasising the quality of works on show. Certainly the 56 big scale works in the 'Art Unlimited' section brought the smiles and playfulness out in every visitor.
- Article originally published in Australian Art Sales Digest
 
15 June 2010
 
Art Basel 41: Two Antipodean Premieres
 
The galleries holding up the Anzac flag are only two, and both of them are first-timers among the 303 international galleries represented and this year's Art Basel, chosen from over 1,100 applications. Yet both Art Basel rookies - Anna Schwartz Gallery of Melbourne and Sydney, and Michael Lett from Auckland - are already very happy with this most important of Art Basel rituals, the day for invited guests only, aptly named 'First Choice'.
 
The day seems to be true to its name: Michael Lett sold two of an edition of 3 by young New Zealand video artist Sriwhana Spong (born 1979). Her work 'Lethe-wards' was snapped up and at Euro 8,000 and a relative bargain. Michael Lett commented: 'People come to Basel to buy, not just to look. For them, it is nice to know that we hail from New Zealand, but really, location is irrelevant to the visitors to Basel. Buying at Basel might add prestige to a purchase, just as buying at an evening auction rather than a day sale can.'
 
A first within Art Basel is the section Art Feature, which gives 20 galleries the opportunity to curate a project of their choosing. Anna Schwartz features during her first exhibition the work of Shaun Gladwell, and this choice has also paid off already. Director Simeon Kronenberg said: 'Visitors recognise Gladwell's work from the Venice Biennale. We have sold 'Double Field / Viewfinder (Tarin Kowt)' this morning, and a Swiss institution has shown great interest in it as well.' The price of Euro 45,000 reflects the artist's growing international reputation - which has also seen an Australian auction record for a video work in August 2007, when AU$ 84,000 including buyer's premium was paid for 'Storm Sequence'. Kronenberg added: 'Exhibiting at Art Basel allows us to position Australian artists - and our gallery - on an international playing field. However, we have already seen quite a few Australian collectors today who continue to support Australian artists.'
 
Obviously, Art Basel has not lost any of its pulling power, neither on galleries nor on artists - and certainly not on visitors. Hundreds of collectors and celebrities were waiting patiently in front of closed doors until the fair opened with Swiss precision exactly at 11 o'clock.
 
Among them we spotted Roman Abramovich, not only owner of the Chelsea football club, but also of major paintings by Lucian Freud and Francis Bacon (reputedly purchased in 2008 for £ 61.4 million) and worth US $ 23.5 billion according to Forbes magazine, so plenty of money to spend in Basel.
 
Simon de Pury of Phillips de Pury Fine Art Auctioneers and legendary Australian gallery owner and former exhibitor Roslyn Oxley were also waiting in the grey drizzling morning to get their first taste of Art Basel 41 as soon as the doors opened.

 
Once inside, actor Val Kilmer of 'Batman Forever' fame was seen chatting at high-profile Swiss Gallery Bischofberger, sitting most comfortably amidst works by Andy Warhol and Jean-Michel Basquiat.
 
Until the end of the fair, 60,000 visitors are expected to attend the fair, and in doing so, demonstrate the strength of modern and contemporary art - and by extension its market.

 

13 May 2010
 
Australian world record price at Phillips de Pury's New York evening art auction: Mark Newson's Lockheed Lounge sells for US $ 2.098 million
 
The third of the big art nights in New York was also a big night for Australian art: Mark Newson's Prototype Lockheed Lounge from 1988, with an estimate of US $ 1 million to US $ 1.5 million, sold for US $ 2.098 million, beating the previous record from April 2009 by US $ 485,000. The work sold after vigorous bidding in the room and on the phones to an unknown phone bidder.
 
Phillips de Pury offered in their contemporary evening art session 22 works from the Halsey Minor collection and 52 works from various vendors, and achieved US $ 37.9 million in total.

 
The Halsey Minor collection comprised a total of four works by Mark Newson. Chairman and auctioneer Simon de Pury commented: 'Halsey Minor is a great admirer of Mark Newson, and he handpicked the best that he could find. This collection of Newson's work is unique to come on to the market; Newson's designs are sought after globally. We believe greatly in him and have championed his work for some time.' On the subject of Australian art, de Pury continued: 'We are always interested in the best art, and have supported the photographic works of Tracey Moffat and Bill Henson. We would be happy to introduce more top Australian artists into our sales.'
 
One other Australian artist's work appears in the Phillips de Pury day sale on 14 May: Stephen Bush's 'Tallow-wood', 2005. The work is very large at 183 x 183 cm, and conservatively estimated at US $ 8,000 to US $ 12,000.
 
The sale cover lot, Richard Prince's haunting 'Nurse in Hollywood' from 2004, was highly contested and sold for US $ 6.466 million, on estimates of US $ 5 million to US $ 7 million. Overall, the evening concluded with an impressive 87 % sold by value and 78 % sold by lot. Four more auction records were achieved: Urs Fischer's sculpture 'Grass Munchers' sold for US $ 902,000, on a previous record high of US $ 144,000, and new records were also set for Mark Bradford, Mark Grotjahn and Walton Ford.
 
Simon de Pury commented on the sale: 'We are very, very pleased. Our sale here in Chelsea was very well attended. There is a lot of desire and competition in the market.'

 
 
12 May 2010
 
Sothebys New York Contemporary Evening Auction: High Flying Continues with Iconic Warhol Self Portrait doubling its high estimate, selling for US $ 32.562 million
 
The first such large Andy Warhol self portrait to come on to the market in ten years was consigned by fashion designer Tom Ford. It promptly doubled the high estimate with intensive competition from six bidders, finally selling for US $ 32.562 million. The bounce back of the contemporary art market continued throughout the evening: several bidders also competed for a large iconic Mark Rothko painting from 1961 which sold for US $ 31.442 million.
 


Bidding in the room and on the phones was consistently solid, resulting in no less than five new artists' auction records for Richard Tuttle, Richard Serra, Brice Marden, Maurizio Cattelan and Juan Munoz, not only for flat art, but also for sculpture.
 
Not to be outdone by auctioneer Christopher Burge at Christies the previous night, Tobias Meyer achieved a spectacular US $ 189.969 million, on high estimates of US $ 162 million, selling 50 of 53 lots offered, resulting in 94.3 % sold by lot and 97.6 % sold by value.
 
A move back to more conservative estimates has clearly helped. Tobias Meyer commented after the sale: 'This has been our best contemporary sales since spring 2008.' He said: 'There is a global hunger for great icons. The buyers are looking for trophy paintings and when they find them, they go full throttle. For great works, collectors are willing to break boundaries: This is the first time that such a high price has been paid for a Warhol not from the early 1960s, but a self portrait created in 1986, just a year before his death.'
Meyer continued: ' It is an intelligent market that can look into the future and not just the now.'
 
Asked about the potential of Australian Aboriginal art in New York contemporary auctions, Tobias Meyer said: 'We are not in the business of building markets or making artists' reputations here. For that, you need a game changer. Let's think big here and let's say a big player like art dealer Larry Gagosian was to represent Aboriginal artists. That would of course change everything.'

 
 
11 May 2010
 
American Flag Flies High at Christies - Jasper Johns' 'Flag' sells for record US $ 28.642 million
 
The contemporary art sales in New York started with a loud vote of confidence in the market. 31 of the 79 lots came from the collection of the late Michael Crichton, author of Jurassic Park fame.

The most spectacular result of the evening was his favourite piece, Jasper Johns' 'Flag', purchased directly from the artist over 30 years ago. It sold for US $ 28.642 million on estimates of 10 to 15 million US dollars. Four bidders vied for the privilege to wave the most expensive flag ever - victorious in just two minutes was a New York art dealer Michael Altman.
 

Bidding throughout the evening was fast paced and even frenetic, with only 5 works failing to sell on the night. Three more artists' auction records were set for Mark Tansey, Christopher Wool and Lee Bontecou. Auctioneer Christopher Burge was in top form, and the results he achieved should be encouraging to fellow auctioneers Tobias Meyer of Sothebys and Simon de Pury of Phillips de Pury with their evening sales on Wednesday and Thursday.
 
The strength of the bidding was clearly demonstrated by Andy Warhol's 'Mao' with an estimate of US $ 700,000 to US $ 900,000. Bidding started at US $ 480,000, quickly reaching US $ 750,000, when an obviously determined collector placed a US $ 1.5 million bid. The contest continued with the work fetching US $ 2.378 million.
 
After the sale, Roger McIlroy, formerly of Christies Australia and now of Nevill Keating McIlroy Ltd, commented: 'What a spectacular sale, who would have thought that we had a stock market crisis just a year ago.'
 
The 31 Crichton lots achieved US $ 93.323 million and sold a 100 % by lot and also by value. The 48 lots of various vendors sold for US $ 138.583 million, totalling US $ 231.907 million.

28 April 2010
 
Meeting Damien Hirst in Mexico City
 
Why is Damien Hirst opening a major show in Mexico City of all places? Well, buena suerte - good luck - is big in this country, and a chance meeting between one-time gallery owner Hilario Galguera and the world-famous artist at a social event led first to friendship and then  to collaboration.


David Hulme, Damien Hirst and
Brigitte Banziger

Hirst is a confessed Mexico aficionado, and Hilario  introduced him to the real Mexico of Lucha Libre and much more. In  turn, Hirst went on to encourage Hilario Galguera to open a gallery again and finally, on offering him a Hirst show, Galguera relented.
 
This resulted in their first show in February 2006 with 26 works from Hirst´s ¨Tank Series¨. Gallery Hilario Galguera has since gone on to exhibit a host of international and Mexican artists in Mexico City and in their gallery in Leipzig, Germany.
 
The current show ¨Dark Trees¨ featuring over 30 works has been in the planning for over a year. It´s a very personal exhibition for Hirst and is also a tribute to his friend, the artist Angus Fairhurst, who committed suicide in 2008 at the age of only 41.
 
Not all of the wiorks are for sale. Some are from Hirst´s own collection and others in the series have been loaned from private collections. Works displayed range from 650,000 pounds to 7.5 million pounds for a triptych.
 
David Hulme:  Is it important that you are also promoting Mexican art by holding exhibitions here in Mexico City?
Damien Hirst: No, for me it´s about the people, friends and relationships are important to me. I´ve been coming to Mexico for a long time. I´ve got a place at the beach. I might come here for three months at a time.
 
David Hulme: Are there buyers in Mexico for your works?
Damien Hirst: Yes, now there are, and let´s face it we only need to sell one painting and it´s paid for everything including a good party, isn´t that right Hilario.
 
David Hulme: You can´t get many people through the gallery here in comparison to London, It´s all pretty low key here isn´t it?
Damien Hirst: No, that´s not true we hold the exhibition here for a longer period, three months, so it evens out with numbers over time.
Hilario:  Yes, at Damien´s last show here in Mexico City we had 70´000 people through the door.
 
David Hulme: With your previous and most well known works with Australian sharks have you ever considered putting an Australian Crocodile in formaldhyde.
Damien Hirst: No, although I did have a collector ask me one time, but no, I´m a bit over that now. We do actually have a lot of crocodiles down at the beach here in Mexico, you see them at night. It´s also excellent surf. My wife´s a mad keen surfer, I call myself a surf widow.
 
David Hulme:  Have you tried it?
Damien Hirst: No, it´s all too much like hard work for me.
 
David Hulme: You should come to our home town, Manly Beach in Sydney. We have some great waves there too. Maybe stick to painting surfboards then.
Damien Hirst: Yeah, I´ve done a few of those too.
 
David: What about Mexico City?
Damien:  Yeah, it´s a great town. Look, I met Mexico´s president last night. You can´t do things like that back home in England. Imagine like going to meet with the Queen.
 
Dark Trees - The works
 
As for the images themselves, arresting images of death dominate. We observe the familiar Hirst motifs including skulls, sharks and well used dots in many of these paintings. Clear influences of Mexico and the Mexican´s attitude to death resonate here.
 
In some of his images Hirst creates a web from which there seems no escape from inevitable death. In others he has produced an x-ray like effect as if this will somehow reveal the answers about death Hirst is seeking. In another work we see a priest, his head a skull - the death of religion or its demise perhaps. Hirst appears to answer his own questions with these images of death, as to where he is ultimately headed. Through these dark images and subjects there is a light of optimism, some feeling of a light at the end of the tunnel. Death is a reality but nothing to be fearful of. It comes to us all - a truly Mexican vision.


 
Criticism of Damien Hirst´s paintings has been quite frequent lately. Aware of all the criticism I walked into Gallery Galguera with I hope as open a mind as possible. An uninspiring building on the outside, the space is  beautifully modern internally and cmpliments Hirst´s work well.
 
But are these paintings good? Clearly the expectations on all works that Hirst produces are now like his prices, in the stratosphere. I prefer to ignore the price tags as I see them as completely separate from looking at his art.

I enjoyed the works for what they were. I didn´t feel thatnew ground was being broken here but if you have ever been to Mexico you will see where Hirst is coming from and that here he is dealing with his own mortality. Let´s face it, the artist is still only 44 years old.


I think we should look forward to what he does next with some enthusiasm. Hirst is after all always likely to confound and suprise us that´s what makes him interesting. Hirst is undoubtedly one of the most successful artists of all time. At his age he still has a lot to give us, so a little patience wouldn´t go amiss.

Down Mexico Way: Beyond Rivera, Kahlo and Co.

It is the biggest and most important contemporary art fair in its sphere of influence with over 90 international galleries, 900 represented artists and 30,000 visitors (and as such very comparable to the Melbourne Art Fair) – but you may never have heard of it.

Zona Mexico Arte Contemporaneo (Zona Maco) in its 7^th year showcased the thriving contemporary art and gallery scene not only in Mexico, but also Colombia, Peru and Brazil, with some excellent Spanish and US American art galleries thrown in. David Hulme and Brigitte Banziger spoke with long-established as well as new art galleries during the fair from 14 to 18 April.

No works of the legendary Diego Rivera and Frida Kahlo in sight here, yet their influence is still widely acknowledged. Galeria de Arte Mexicana (GAM), founded in 1935 and Mexico´s longest-running art gallery, started out with their work and have made the successful transition into modern contemporary art under the leadership of Mariana Perez Amor and Alejandra Yturbe, the doyennes of the Mexican art world and highly regarded especially by their peers. Today, they represent one of Mexico’s greatest living artists, Francisco Toledo, and many other younger successful artists, concentrating on flat art rather than the conceptual art found at many other stands.

Would the buzz of the opening night with the Mexico City elite out to play translate into sales? Alejandra Yturbe is optimistic, as the local collectors tend to come and look first, purchasing only at the end of the fair. Yturbe comments: ‘We are finding that it is not only the wealthy that are buying art in Mexico. We are seeing that today there is a larger audience.’ As Alejandra points out, the arrival of Fine Art Auction House Louis Morton in Mexico City in 1988 helped foster a collector culture, creating the opportunity of buying and selling on the secondary market.

Did the financial crisis have a noticeable impact on business? Rafael Yturbe, son of Alejandra and also involved in the running of the gallery, says: ‘It has not had that big an impact. Of course, the Damien Hirst art auction at Sothebys in London coinciding with the start of the financial problems was seen as some kind of pivotal moment and end of the art market. In reality, the art market continues unabated.´

Mauricio Galguera of Galeria Hilario Galguera, who represent Damien Hirst, supports the view that the horizon of the art buyers in Mexico has expanded in the last ten years, not only focusing on modernists such as Rivera, Kahlo and Rufino Tamayo. He added: ‘There has been a massive shift in attitude, the Mexican art collector is a relatively new species. This would not have been possible without the growing quality and innovation in the art presented – and therefore we also see more international buyers.’

OMR gallery director Patricia Ortiz Monasterio is a regular at Art Basel and another legend amongst the Mexican art gallerists and has good memories of Roslyn Oxley and remembers Ray Hughes well. Ortiz Monasterio is also confident of good sales, pointing out: ‘Often, people don’t know how to look at things, so we have to educate them. Some buyers buy to decorate, others you see at every art show – the collectors. In this regard, Maco is no different from any other art fair.’

Kurimanzutto are one of the most important galleries in Mexico, representing Mexico’s most widely acclaimed artist, Gabriel Orozco, whose work was shown in a retrospective at the Museum of Modern Art in New York just this year. Georgina Arozarena of Kurimanzutto shares the optimism: ‘We see better art than last year, and the fair has been much better organized especially for international collectors with a package program offering studio and museum visits.’ As for purchases, Arozarena thinks that the buyers are more careful and thoughtful, and are making wiser choices.

‘Also, the buyers see a greater mix of art, as in the last 6 months a lot of galleries have been opening in Mexico City’, added Arozarena. One of them is Antena Estudio, a gallery run by artists Laura Ortiz Vega and Andres Basurto who sold a work for 70,000 Pesos (AU$ 6,300) by Ortiz Vega on the opening night. Interestingly, all the newer galleries display prices, while the established ones don’t. Basurto explains: ‘We want clients to feel that our art is accessible for all. We are finding our buyers are perhaps from a different set, as there is a stronger middle class in Mexico. They are taking risks and buying art that they previously would not have. Plus there are buyers from the USA, and also from Colombia, Brazil, Argentina, Peru and some Europeans.’ 

Speaking of prices and economic realities, Myto gallery is in an enviable position. Founded in 2002 by an avid collector, it is not commercially oriented, but operates as an art factory, as director Belen Moro explains. She says: ‘2009 was a very difficult year for art here, as Maco was also hit very hard by the outbreak of swine flu. But since the start of 2010 things have been looking up with collectors wanting to buy again. Perhaps the prices were also getting too high, and there has now been a revision both in price and quality all around. Mexican art is in a good place right now.´

Alejandra Funtanet is a newcomer with Caja Blanca Gallery, founded in 2009. She underlines: ‘2010 is much better, with better quality and curation in the artworks. Our collectors are looking for young artists yet to make their mark.’ 

With prices starting from US $ 500 to US $ 500,000, Mexican contemporary art is certainly accessible to a wide audience, with a lot of quality art available. Nor is language a barrier, as English is spoken by all gallerists, and the overall atmosphere is upbeat. Perhaps there is also potential for cross-pollination with Australia’s artists and galleries…

- Article originally published in Australian Art Sales Digest

from August 1832 until October 1834, where he developed an enduring friendship with Charles Darwin.

Another very interesting piece was actually a letter from one of America’s most famous artists of the 20th century: Norman Rockwell. The letter is dated 2nd March 1952, typed unevenly and signed by hand by Norman Rockwell.

A lady brought in this absolutely stunning family portrait by an unknown artist. It has been in the owner’s family in Ireland for perhaps 300 years and was brought out to Australia only 30 years ago, and warrants more investigation.











Christopher Allen, art critic for the Australian, praises website on Antonio Dattilo-Rubbo created by Banziger Hulme Fine Art

Christopher Allen talks in “Museum and Labyrinth” (p. 18 –19, Review, The Weekend Australian, 21 – 22 February 2009) about the effect of the internet on art galleries and art institutions worldwide, and how they display their collections. He also writes about smaller institutions:

“…Among smaller institutions the Manly Museum and Art Gallery has set up a site on the painter, teacher and co-founder of the MMAG, Antonio Dattilo-Rubbo, one of several significant European artist-teachers in 20th-century Sydney who deserve to be better known. Dattilo-Rubbo is not important enough as a painter to warrant a full monograph, but the website is a perfect vehicle for assembling reproductions of his work, biographical information and the substantial introductory essay to a 1980-81 survey exhibition. …”

We are delighted that the site has received this recognition. Our other non-profit curated fine art websites include www.normanlloyd.com.au, www.robertmitchellartist.com.au, and theartcollectorseye.com.au.

About Banziger Hulme Fine Art Consultants
Banziger Hulme are independent art consultants and art brokers. They combine a range of art-related services in their internationally operating art business: art brokerage, art valuations, assistance with art exhibitions, art seminars and curated not-for-profit fine art websites. More information on www.bhfineart.com


30 January 2009:

Website ensures legendary Australian art teacher and artist to get worldwide exposure at last
 
Antonio Dattilo-Rubbo (1870 - 1955), one of Australia’s most important art educators and a major Australian artist in his own right will now receive the greater public acknowledgement he so richly deserves thanks to a new website at www.antoniodattilorubbo.com.au detailing the story of his life, his career, his art and displaying previously unknown photographic material.

Opening night on 14 November 2008:

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 offering

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

• The auction house will hold viewings at their permanent premises (not a hotel) for at least three days of 6 to 8 hours each before the sale.
• They will have fine art experts on hand to discuss the works.
• They will produce a catalogue of all the works on sale. Dependent on the value of the works, sometimes this will be a glossy and very expensive catalogue. At other times it will be a photocopy list. However, they will all generally give advance notice of the sale and have an online catalogue of the works so that you can view prior and offsite.
• Details of sales results are submitted to the Australian Art Sales Digest. This database holds records for the last 30 years of sales of 11,500 Australian and New Zealand artists. Internationally, Artprice and Artnet do the same job for approximately 350,000 artists worldwide. Art dealers, galleries and collectors of fine art subscribe to these databases for accurate and honest information.
• Art dealers frequent these auctions to purchase themselves.