Geoffrey Smith and Gary Singer have produced their first sale of Australian and International Fine Art under their own names after their departure from Sotheby's. Geoffrey Smith has made it very clear that they are only interested in pursuing sales of the most valuable artworks that they can find, and their upcoming auction is a prime example of this philosophy. Just 59 lots are being offered on 24 June in Sydney, with a low estimate of $5.96 million and high estimate of $8.3 million, which represents an average of $100,000 per artwork, even if all lots were to sell at their low estimates. Of course, prices do vary considerably, with the top estimates for lot 12, Howard Arkley's "Stucco House", 1988, at $700,000-900,000, and the lowest estimates at $10,000-15,000 for lot 32, "Villa Maria Bay, Sydney", 1882, by William Piguenit. Previews are held in Melbourne at 14-16 Collins Street until 14 June 2020, and in Sydney, you can view the artworks at 30 Queen Street, Woollahra, from 17 to 24 June 2020. The Auction is held on 24 June 2020, 6.30 pm, in the National Council of Jewish Women of Australia, 111 Queen Street, Woollahra. You can view all artworks also online at the Smith and Singer website. We would be delighted to assist you if you are interested in any of the lots. Contact us on [email protected] for more information on how we can assist you in making astute purchases. And here are Dave's Faves: [caption id="attachment_6211" align="alignleft" width="196"] Lot 1 - Arthur Boyd, Evening, Shoalhaven River, 1976, 30 x 19.5 cm, est. $25,000-35,000. In the Pink[/caption] [caption id="attachment_6212" align="alignleft" width="300"] Lot 2 - Fred Williams, Bushfires near Weipa, Cape York, 1977, 55.5 x 75.5 cm, est. $35,000-45,000. All Fired Up[/caption] [caption id="attachment_6213" align="alignleft" width="268"] Lot 6 - John Brack, Laughing Child, 1958, 45.8 x 40.8 cm, est. $400,000-600,000. Blondes have more fun[/caption] [caption id="attachment_6214" align="alignleft" width="268"] Lot 11 - Joel Elenberg, Mask C, 1980, 104 x 47 x 24 cm, est. $120,000-160,000. The only mask I want to see[/caption] [caption id="attachment_6215" align="alignleft" width="264"] Lot 13 - Jeffrey Smart, Study for Bondi Penthouse, 2002, 51 x 45.5 cm, est. $100,000-150,000. A study in social distancing before we knew what it was[/caption] [caption id="attachment_6216" align="alignleft" width="300"] Lot 15 - John Olsen, Pilbara Bushfire, 1983, 136.8 x 152 cm, est. $150,000-200,000. Earthy[/caption] [caption id="attachment_6217" align="alignleft" width="248"] Lot 16 - Sidney Nolan, Kelly Head, 30. x 25.5 cm, est. $10,000-15,000. Has anyone here seen Kelly?[/caption] [caption id="attachment_6218" align="alignleft" width="300"] Lot 22 - Ethel Carrick, On the Sands, 1910, 26.5 x 35 cm, est. $140,000-200,000. Perfect Impressions[/caption] [caption id="attachment_6219" align="alignleft" width="300"] Lot 23 - Frederick McCubbin, The Bathers, 1906, 51 x 76.5 cm, est. $400,000-600,000. Naked Ambition[/caption] [caption id="attachment_6220" align="alignleft" width="300"] Lot 27 - Ethel Carrick, The Market, Caudebec, 1903, 51.4 x 61.3 cm, est. $140,000-180,000. You might have to pay more than market price for this one[/caption] [caption id="attachment_6221" align="alignleft" width="300"] Lot 32 - W.C. Piguenit, Villa Maria Bay, Sydney 1882, 36 x 66.5 cm, est. $10,000-15,000. Bay of Piguenit[/caption] [caption id="attachment_6222" align="alignleft" width="300"] Lot 33 - Hans Heysen, The South Coast, Victor Harbour, 1926, 32.8 x 40.7 cm, est. $15,000-20,000. S.A. Great[/caption] [caption id="attachment_6223" align="alignleft" width="300"] Lot 34 - Albert Namatjira, Ghost Gum and Mt. Sonder, MacDonnell Range, 1955, 36.5 x 60 cm, est. $35,000-45,000. Very large, very colourful and dated 1955.[/caption] [caption id="attachment_6224" align="alignleft" width="272"] Lot 36 - Adrian Feint, The Terrace, Neidpath, 1942, 51 x 46 cm, est. $15,000-25,000. Bricks and Mortar, always a Solid Investment[/caption] [caption id="attachment_6225" align="alignleft" width="300"] Lot 38 - Danila Vassilieff, Fitzroy Street with Grating, 1938, 50 x 54.8 cm, est. $25,000-35,000. Some Melbourne Magic[/caption] [caption id="attachment_6226" align="alignleft" width="300"] Lot 53 - Alexander McKenzie, Strong Tower, 2009, 152.5 x 152.5 cm, est. $18,000-25,000. Capture your Inner Strength[/caption]
Dave’s Faves for the Smith & Singer auction on 24 June 2020 was originally published to: https://www.bhfineart.com/
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While the coronavirus lockdown removed live auction bidding, many of the Australia and New Zealand auction houses have continued sales with online-only auctions, while others have closed their doors until the crisis passes. Prior to the lockdown, there were three possible auction formats: live only, both live and online and online-only, with the latter being the only option available in Australia and New Zealand at the present time. Online auction site invaluable.com has been the source of most of the growth in the popularity of the online method of auctioneering over the last 5 or so years. But conventional wisdom was that online-only auctions were a cost saving method of moving less expensive lots, or as an adjunct to a live auction, as another method of bidding for those unable or unwilling to attend, and desiring total control of their bidding. After all, who would spend thousands of dollars without being able to physically inspect what they were intending to bid on. Online-only auctions also eliminate telephone bidding to the rooms, the telephone being the source of a large proportion of the bids at a live auction, especially at the upper end of the market because of the anonymity it offers the bidder. The Covid-19 lockdown has elevated the status of the online-only auction, as this is the only method by which an auction house can do business apart from private sales. The last major art sale in Australia was the Deutscher & Hackett Important Australian Aboriginal Art, held on 18 March, on the cusp of the introduction of the restriction on live auctions. This sale was conducted with both live and online bidding, as with all of Deutscher & Hackett's recent sales. The sense of foreboding within the population at the time resulted in lower room attendance, but the sale still raised a creditable $2.4 million (IBP). The ban on live auctions has caused major disruption at all levels of the art and antique auction industry. Three of the leading Australian art auction houses, Smith & Singer, Deutscher & Hackett and Menzies have postponed their next scheduled major sales, while the fourth, Bonhams has not yet announced a date for its first major art auction for 2020. Some of Sydney and Melbourne's auction houses, such as Lawsons, Theodore Bruce, Raffan Kelaher & Thomas and Leonard Joel have switched seamlessly across to online-only sales, not noticeably changing their regular weekly, special and on-location auction schedules. These businesses have been combining both formats for several years over all sales, so have sales histories to estimate likely results from online-only sales. In Sydney, Shapiro Auctions had scheduled the live sale of The Contents of the Historic Homestead 'Wollogorang', Goulburn on 6 April, many weeks in advance of the lockdown, and for the auction to proceed had to make a quick decision as to what direction to take. The decision to move to the online-only format would not have disappointed the vendor or the auction house. From a low estimate total of $264,000 (which does not include buyer's premium), the sale achieved $478,000 (IBP) with 81% of the lots sold by number. In Melbourne, Leonard Joel had three auctions scheduled on April 6, 7 and 8 for their initial Design Icons Week series, again catalogued and advertised prior to the lockdown coming into effect, for both live bidding and online bidding. Again the three sales: Modern Design; Luxury and Prints and Multiples quickly became online-only sales with little notice. Leonard Joel reported that the three sales sold 74% by number and "smashed all sales expectations" and that "online-only auctions, in this important period of social-distancing, are absolutely no barrier to the collecting community." Other mid-tier auction houses such as Philips Auctions and Aingers Auctions in Melbourne, and Vickers & Hoad in Sydney have closed for the duration of the ban on live auctions. In New Zealand, Dunbar Sloane, Cordy's and Art + Object have postponed all their sales while Webb's, has been conducting auctions online-only and postponed their important Works of Art sale. Auckland’s oldest auction house, International Art Centre is demonstrating that necessity is indeed the mother of invention. When New Zealand's Prime Minister declared a level four lockdown on 26 March, "business as usual" abruptly ceased. They postponed their April Important & Rare auction, then began working with collectors with the aim of gathering a healthy offering of works, both contemporary and historical to be sold online-only. Director Richard Thomson said they were careful to choose works that are in good condition with no surprises. 'Condition was paramount' Thomson said. The sale of 65 lots features familiar names and carefully curated works by artists such as Colin McCahon, Charles Blomfield, Michael Smither, Sydney Thompson, all stalwarts of the New Zealand art scene. Prior to lockdown, the mooted live Important & Rare sale, with many key offerings was generating considerable interest in the New Zealand art market. When asked why they didn’t just proceed with that sale online, Richard Thomson, the company's auctioneer said 'it was not contractually viable for us to expect our vendors to accept that we would not hold a viewing or offer their works for sale in such an uncertain environment'. Like some of the Australian auction houses using the Invaluable bidding platform, International Art Centre have agreed to absorb the usually additional 5% premium charged by Invaluable to make the change more palatable to buyers, and in addition is offering purchasers free door-to-door delivery when lockdown restrictions are lifted. The title of International Art Centre’s forthcoming auction Art at Home could be applied to all forthcoming online-only sales as collectors and first time buyers make the most of their home space, with time to appreciate their surroundings. Clearly, the changed conditions for auction houses are challenging, but can offer opportunities as well, even though traditional viewing in person is severely restricted, and bidding in the auction room is not possible for the time being. It is those auction houses who already have a large percentage of online bidders on their books that are in the box seat, with buyers still ready and willing to spend, as is evident from the experiences of Leonard Joel and Davidson Auctions for example, as reported in AASD. Olivia Fuller, head of art at Leonard Joel, told AASD that they will be using digital viewing options such as Facetime and Whatsapp to facilitate and enhance the viewing and buying for their clients now not able to look at artworks in person. As we know, the main reasons for sales of art and collectables at auction are death, divorce, debt and possibly down-sizing, and none of these reasons are likely to abate, which means auctions are very much here to stay. Therefore sellers and buyers will have to adapt to the changed circumstances. The auction house simply acts as a conduit between seller and buyer, much like it has since James Christie opened his eponymous auction house in December 1766 in London, and today, bidding online at auctions is an additional way of doing so. Of course we have seen online bidding ventures come and go, like Auctionata for example. The auction platform Invaluable.com has managed to dominate the scene, now partnering with more than 4,000 premier auction houses worldwide, including Sotheby’s. It had started out in 1989 as supplier of auction price data, and it wasn’t until 2009 that Invaluable launched its online bidding platform. The platform now boasts 58 million auction records with over US$204 billion in value. Today however, all eyes are on the big end of town, and Invaluable surely want to capture the biggest prizes of all: the most valuable art sold at auction. To date, there has been some reticence from collectors, as Invaluable.com charge a flat 5% on all hammer prices achieved, (apart from the auctioneer’s buyer’s premium), which can lead up to a total of 30% on top of the hammer price. On a $5,000 artwork, Invaluable adds a bearable $250 to the total, but on $500,000, a fee of $25,000 would be added by bidding through Invaluable. The services of art consultants and the auction house phone bidding services work out much more favourable for the buyers. A tiered system of bidding fees from Invaluable would seem like the obvious solution to capture the big ticket art items. Whether this will eventuate, remains to be seen, as Invaluable may well hold out. Buyers may succumb in larger numbers in an environment where they cannot attend an auction in person. One problem may be the slower pace of bidding, as experienced by auctioneer Andrew Shapiro in their last sale. He said: “With 716 online bidders, the sale ran smoothly, though at a much slower pace than if it were in the rooms. Instead of 80 to 100 lots an hour, we were at 30 to 50 lots an hour, as the internet was having to keep up with the incredible number of bidders.” If Invaluable are able to capture the buyers at the highest levels, they will become an even more powerful player in the art world, as they will gain direct access to the world’s biggest art collectors – the holy grail of the artworld. However, in the hope of live auctions again possible in the not too distant future, Deutscher + Hackett have moved their autumn sale to mid-June, and Menzies have postponed their end of May sale to a later date. Meanwhile perhaps as way to cut down the longer than usual wait for an auction proper, in recent weeks, we have seen the leading auction houses offering more paintings for private sale. Article originally published in Australian Art Sales Digest on 11 April 2020 First major Covid-19 induced online-only auctions achieve good results is courtesy of: https://www.bhfineart.com Even though room audiences in major art auctions have shrunk over the last few years, no auctioneer would have been quite prepared for zero attendees for a major sale of fine art. Recently introduced rules on property inspections and art viewings as well as auctions to restrict gatherings of people meant that Leonard Joel managing director and auctioneer John Albrecht faced just that: a space devoid of room bidders. In somewhat of a first, the auction house was completely reliant on phone and internet bidding to sell their carefully curated 100 artworks covering a large cross section of emerging and established Australian contemporary art. With consultation from Cameron Menzies, principal of Five Fifty Art Advisory, and direction from Olivia Fuller, head of art at Leonard Joel, the sale was ambitious even in a bull market and not without risk. Viewing on Invaluable.com, we saw John Albrecht took to the rostrum in a seemingly relaxed and confident manner, and as it turned out, fully justified. The auction achieved an excellent clearance rate of 76% by lots and 74% by value, equal to $614,000 hammer price. [caption id="attachment_6161" align="alignleft" width="300"] Noel McKenna's A Fine Bespeckled Gentleman generated strong bidding: it sold for more than twice the low estimate for $8,500 hp.[/caption] There was strong bidding for Noel McKenna’s predictably quirky A Fine Bespeckled Gentleman (lot 2): estimated at $4,000-6,000, a number of collectors piped up, selling for $8,500 hp. A self-portrait with horns titled Self Portrait (Paris Riot), 2014 (lot 3) by celebrity artist Ben Quilty sold way beyond its expectations of $10,000-15,000 to sell for $22,000. Reko Rennie’s Message Stick, 2011 (lot 13) also marched above its hoped for $8,000-10,000 and sold for $11,000. Boy Becoming Man, 2006 (lot 19) by another highly sought after artist, Del Kathryn Barton, sold for $8,500 on $8,000-12,000 estimates. It was also very refreshing to see such a high proportion of women represented in this sale, something that we are more likely to see in a contemporary auction. By numbers, there were 68 artworks by men and 31 by women, and one collaborative artwork between Howard Arkley, Juan Davila and Maria Kosic.
Criss Canning’s very appealing Proteas in Vases, 1992 (lot 21) sold mid-range for $13,500 on $10,000-15,000 expectations. There was also a healthy diversity of media, including paintings, sculpture and photography. Bruce Armstrong’s large wood sculpture Owl, 2016-20 (lot 26), estimated at $18,000-24,000 with one buyer wisely giving $20,000 hp. Perhaps there was some nostalgia in evidence with Michael Zavros’ painting of two stylishly suited males Red/Blue, 2001 (lot 28) selling mid-range for $22,000 on $20,000-25,000 hopes. John Olsen’s Torres Strait, 2006 (lot 32) carried estimates of $50,000-70,000 and sold for $65,000, which was also the highest price paid for an artwork on the night. Meanwhile, the painting with the highest estimate of the sale at $80,000-120,000, Tim Storrier’s Afternoon Haze (lot 33), did not reach its low estimate and was left unsold, perhaps an indication of the hammer price limitations of “online-only” auctions. Cockatoo with Probability Diagram, 2010 (lot 44) by Sam Leach was keenly fought for and unsurprisingly flew to land at $10,500, comfortably above its $7,000-9,000 estimates. Paul Boston’s Two Heads, 2006 (lot 47) also exceeded its expectations of $6,000-8,000, selling for $11,000. Other notable sales include Melinda Harper’s Untitled, 2011 (lot 67), estimated at $3,000-5,000, sold for $6,500 bringing plenty of colour to the purchaser’s day, whilst Peter Tyndall’s A Person Looks at a Work of Art (lot 81) clearly had many persons looking: on hopes of $1,600-2,000, it sold for $7,500. Whilst Deutscher + Hackett have just held a successful limited fine art auction with 20 lots, selling 17 for a total hammer price of $204,000, they have another 15 lot strong timed online sale with a high estimate of $401,500 which finishes on 6th May. Article originally published in Australian Art Sales Digest, 6 May 2020 Leonard Joel smashes it with groundbreaking sale of contemporary Australian art is courtesy of: BH Fine Art For their 100 year anniversary, Leonard Joel Auctions in Melbourne have put together a celebratory auction titled "Centum" (Latin for "hundred") with 100 works by 100 living Australian artists. They range from masters like John Olsen and Tim Storrier to mid-career artists such as Euan MacLeod and Peter Booth, to younger artists including art market darlings Ben Quilty, Dale Frank and Del Kathryn Barton, as well as a small selection of Aboriginal artists, featuring among others Gabriella Possum, Barbara Weir and Emily Pwerle. Equally varied are the media on offer: oil, watercolours, photography and sculpture, and if you are after a large canvas, you won't be disappointed either. At the moment, art auction houses are not allowed to conduct live auctions during the restrictions imposed by the Australian government to contain the spread of the Corona virus. Therefore the auction will be held on 5 May 2020 without room bidding, and bidding only by phone and online. Many artworks are estimated below $10,000, making this a great opportunity to acquire works by noted contemporary Australian artists at budget-friendly prices. You can view all artworks online at the Leonard Joel website If you are interested in these or any other lots in the auction, don't hesitate to email us or phone David on 0466 313 095. Here are Dave's Faves: [caption id="attachment_6161" align="alignleft" width="300"] Lot 2 - Noel McKenna, 2009, A Fine Bespeckled Gentleman, 2009. 38.5 x 39 cm, est. $4,000-6,000. Put that in your pipe and smoke it[/caption] [caption id="attachment_6162" align="alignleft" width="300"] Lot 4 - Peter Smets, Site Office #2, 45 x 65 cm, est. $4,000-6,000. Take-away kebab for lunch, Bruce?[/caption] [caption id="attachment_6163" align="alignleft" width="300"] Lot 5 - Jason Benjamin, I looked at the past and it just scarred my eyes, 2019. 120 x 120 cm, est. $12,000-16,000. The future's looking brighter[/caption] [caption id="attachment_6164" align="alignleft" width="193"] Lot 6, Christopher McVinish, Beacon Tower, 2002, 125 x 175 cm, est. $2,500-3,500. Your home is your castle[/caption] [caption id="attachment_6165" align="alignleft" width="248"] Lot 7 - David Keeling, Mobile Man, 2003, 62 x 51 cm, est. $4,000-6,000. So should I text, email, Whatsapp, Instagram, Tweet, find you on Facebook or Zoom you then?[/caption] [caption id="attachment_6166" align="alignleft" width="282"] Lot 9 - Stephen Bush, Lily of the Valley, 2008, 101.5 x 94.5 cm, est. $9,000-12,000. Keep the home fires burning[/caption] [caption id="attachment_6169" align="alignleft" width="233"] Lot 19 - Del Kathryn Barton, Boy Becoming Man, 2006, 79.5 x 60.5 cm, est. $8,000-12,000. Sew What[/caption] [caption id="attachment_6170" align="alignleft" width="300"] Lot 22 - Phillip Piperides, Resting Dancer, 58 x 33 x 58 cm, est. $12,000-16,000. An appeal for calm[/caption] [caption id="attachment_6184" align="alignleft" width="300"] Lot 24 - Rick Amor, Man in Landscape, 1995, est. $6,000-9,000. Tree huggers welcome[/caption] [caption id="attachment_6172" align="alignleft" width="253"] Lot 26 - Bruce Armstrong, Owl, 2016-2020, 190 cm incl. base, est. $18,000-24,000. Be wise[/caption] [caption id="attachment_6173" align="alignleft" width="292"] Lot 28 - Michael Zavros, Red/Blue, 2001, 100.5 x 100 cm, est. $20,000-25,000. Remember these?[/caption] [caption id="attachment_6175" align="alignleft" width="300"] Lot 31 - John Kelly, Light 2006, 114.5 x 146.5 cm, et $35,000-45,000. It will be just a little prick[/caption] [caption id="attachment_6186" align="alignleft" width="300"] Lot 36 - Jan Senbergs, Landing at Exotica, 1991, 152 x 183 cm, est. $16,000-20,000. Remember these?[/caption] [caption id="attachment_6176" align="alignleft" width="300"] Lot 40 - Callum Morton, Casa Spizzico, Capri, 2001, 59.5 x 83.5 cm, est. $2,500-3,500. The perfect get-away for self isolators[/caption] [caption id="attachment_6177" align="alignleft" width="300"] Lot 42 - Deborah Paauwe, Tangled Whisper, 2004, 100 x 100 cm, est. $2,000-4,000. To hug or not to hug, that is the question[/caption] [caption id="attachment_6179" align="alignleft" width="203"] Lot 44 - Sam Leach, Cockatoo with Probability Diagram, 2010, 45 x 30 cm, est. $7,000-9,000. Don't be a galah[/caption] [caption id="attachment_6181" align="alignleft" width="266"] Lot 90 - Paul Ryan, Study for Cannibal, 2013, 81 x 71 cm, est. $3,000-5,000. Don’t panic, Australia produces three times as much food as it consumes[/caption] The following post Dave’s Faves for the Leonard Joel Auction on 5 May 2020 is courtesy of: BH Fine Art Perhaps not since the time of World War II have Australians felt so strongly about the comforts of home, while many are trapped in overseas countries with little chance of returning quickly. Home then becomes a haven and shelter, a place to feel safe and secure. With share markets declining everywhere, perhaps we seek solace in the more tangible and perhaps comforting purchase of art to fill our walls whilst we work from home. That might just do it. If the Deutscher + Hackett sale of Aboriginal art is anything to go by, where 80% of art sold to local Australian collectors, then a further litmus test and test of confidence would be the large Davidson Auctions’ sale of Australian and International Art on Sunday, which had combined low estimates of $444,000 and high estimates of $731,000 for the 472 lots. The sale proved to be very successful, generating a total of $450,000 hammer price and a 80% clearance rate. [caption id="attachment_6156" align="alignleft" width="235"] Herbert Badham’s work remains not just highly sought after, but very rare to market. A delightful, late painting by the artist proved again his popularity: Lot 23, Snow in Courtfield Gardens, 1955, sold for $11,000 on hopes of $2,000-4,000.[/caption] In the week before the sale, principal Robert Davidson had informed prospective buyers that the auction house would absorb the online bidding fee of 5% charged by the online auction platform Invaluable.com on top of the standard buyer’s premium. With this unprecedented move, Davidson may well have eliminated a major barrier to bidders, not only the ones who were not prepared to risk the new inherent dangers of room bidding due to coronavirus, but all bidders wherever they are located. This seems to have proved a savvy step, and even though it demonstrates the power that companies like Invaluable.com have, these platforms may become even more important than they have ever been, for auctioneers, sellers and buyers. The Davidson sale started off well with several typical works by Australian masters: the first lot to be sold was somewhat poignantly Schoolgirl Crying, 1953 (lot 2), a pencil sketch by Charles Blackman which sold on its low estimate of $1,600 hammer price. Three paintings by David Boyd (lots 3, 4 and 5) estimated at $7,000-11,000, $5,000-7,000 and $3,500-5,000 sold for $8,000, $4,750 and $3,500 respectively. A Brett Whiteley screenprint Swinging Monkey, 1965 (lot 6) sold on hopes of $2,500-3,500 for $4,250. This was followed by three appealing and typical Russell Drysdale drawings: At the Bar ( lot 7), sold for $3,500 mid-estimate, Country Child (lot 8) sold for $3,250 on estimates of $2,000-4,000, and Drover Resting (lot 9) sold on the low estimate for $2,000. A Norman Lindsay oil Nude in a Glade (lot 13), was offered at $8,000-12,000 and sold for $8,500, whilst the watercolour At Tavern Close (lot 14), sold for the same price on hopes of $7,000-11,000. Herbert Badham’s work remains not just highly sought after, but very rare to market. A delightful, late painting by the artist proved once again his popularity, when Snow in Courtfield Gardens, 1955 (lot 23), on expectations of $2,000-4,000 soared to $11,000 with room and online bids aplenty. 3 out of 4 paintings by Hugh Sawrey also sold well, the best result achieved for The Camp at the Seven Mile… (lot 24), estimated at $10,000-12,000 and selling for $9,500. A tiny painting measuring just 30 x 30 cm by Australian abstractionist giant Elizabeth Cummings (lot 31) achieved an impressive $2,750 on hopes of $1,800-3,500, while our other leading abstract master Tony Tuckson also achieved good results: Untitled, Woman at Table (lot 41) sold for $3,250 just below the low estimate of $3,500 and Abstract on Newsprint – Red and Black (lot 42) on $1,500-2,500 hopes sold for a newsworthy $4,000. The third Tuckson TD 4550 (lot 43), a very small 10.5 x 15.5 cm sold for $2,250, estimated at $800-1,200. An unusually large painting in William Blamire Young’s chosen medium of watercolour Horse Team Crossing Australian River Landscape (lot 60) sold for an unusually large price: estimated at $8,000-12,000, it sold for a stunning $18,000. This sale put this work as the fourth highest price recorded for the artist after Mauls and Wedges, 1927-29, sold by Leonard Joel in September 2013 for $22,000 hammer price. Five paintings by Roland Wakelin all sold, including The Harbour from Berry’s Bay (lot 61) for $1,800 on estimates of $2,000-4,000. 3 paintings by D’Arcy Doyle also sold, including Taking Dad’s Advice (lot 67), selling mid-estimate for $5,500. 5 Pro Hart paintings sold, with Race Meeting, 1974 (lot 72) racing to a hammer price of $4,000 above its high estimate of $3,500. There were 5 paintings by Alison Rehfisch offered in the sale, of which a very respectable 4 found buyers, with an excellent result of $6,500 for Brick Kiln (lot 79), estimated at $2,500-4,500. Norman Lindsay etchings have been in the doldrums lately, but fortunes were reversed with the lovely selection offered at Davidson’s: lots 110 to 115B provided good buying opportunities. The best result was achieved for a delightful group of 3 original etchings from 1922 with editions of 55; estimated at $3,500-4,500, they sold for $4,000. The sleeper award of the auction went to Alan Oldfield’s Three Objects and Cubist Landscape (lot 159): with modest estimates of $250-450, it achieved a multiple of almost 10 times the low estimate and selling for $2,250. Davidson Auctions have been successfully selling works by international artists since the start of their operations, and this surely was their big test. However, absorbing the 5% Invaluable online bidding fee may have been further enhanced by the drop of the Australian dollar against the US dollar as well as the British pound and may have encouraged overseas buyers even more. One of Davidson’s more unusual international success offerings are paintings by prominent Mauritian painter Malcolm de Chazal (1902 – 1981). In this sale, 15 paintings were on offer, and a very impressive 13 of these sold, with the best results for Tropical Buildings and Palm Tree (lot 182) of $2,500 on estimates of $1,000-2,000. American George Condo is a darling of the contemporary art world, and when 6 of the artist’s large-scale etchings and aquatints from the early part of his career are offered, unsurprisingly, interest levels are very high. All 6 prints sold, with the highest price achieved for More Sketches of Spain for Miles Davies, 1991 (lot 232), selling for $1,900 and thereby more than doubling the low estimate of $800. Four Joan Miro aquatints from 10 years earlier 1981, and the latter part of the artist’s career, also received very strong bidding. Again, all sold well above expectations, for example lot 229 for $1,400 hp on hopes of $300-500. Another exceptional result was achieved in the middle of the sale, when the highly atmospheric Boats on the Yarra (lot 274) by Aileen Dent on hopes of just $400-700 sailed away to reach $2,750. A Charles Conder pen and ink sketch (lot 344) did well for the seller: estimated at just $200-400, it sold for $1,400. Manly’s very own social realist painter of the 1940s, Harold Greenhill, is strongly represented with a dozen works in the Manly Art Gallery collection. A very good example of his work, Neighbours, Oyama Street, Manly, 1946 (lot 347) carried estimates of $1,500-3,000 and unsurprisingly sold well above for $3,750. Speaking with Robert Davidson, he was naturally very pleased with the success of his sale. He told us that he had decided to absorb the 5% Invaluable.com fees to assist many of his regular clients who would have found it difficult to be in the room in the current circumstances. His collectors saw this as a sensible and helpful concession. Would he do it again? – Depending on the situation, the answer would probably be Yes. Davidson Auctions already have a strong online bidding clientele of around 30%, and noticed a lift in this sale up to around 40%. Robert Davidson said he could well imagine his next sale without any bidders in the room, depending on government restrictions, and does not necessarily see this as an impediment. He also pointed out that there was a lot of goodwill for his sale and that his clients wanted to see “business as usual” and as unaffected as possible by the current crisis. We also spoke with Chris Deutscher, director of Deutscher + Hackett, whether they had noticed significant changes in buyer behaviour in their stand-alone Aboriginal art sale last week. As reported on AASD, 80% of sales were to local buyers. Within the international component, France were active, while the US were a little down. Chris Deutscher said that the Aboriginal art market had expanded in recent times, hence their move towards their first stand-alone Aboriginal art auction since 2016. The room audience was reduced to about half, but according to Deutscher, buyers who did not attend mostly moved to phone bidding, as the 5% Invaluable.com online bidding fees are understandably somewhat of a deterrent to buyers of higher value lots. Generally D+H buyers however just watch the auction online and use phone bidding to participate in the sale. He said it was noticeable that all of the people in the saleroom were serious bidders, which made for a lively room experience. Like Robert Davidson, Chris Deutscher said that what they felt from their buyers in particular was a huge amount of goodwill, very much wanting to support this sale in these difficult times. Chris Deutscher also told us that due to the uncertainty caused by the Covid-19 crisis, their May fine art sale had been rescheduled to 17 June 2020. Article originally published in Australian Art Sales Digest, 23 March 2020 Davidson Auctions Takes Online Bidding at Home to New Heights was first published to: Banziger Hulme Fine Art Consultants Wandering through the large colonial art collection at the Tasmanian Art Gallery and Museum, one is immediately assured of its gravitas and sense of history. Some of Australia’s most significant paintings reside here, including Benjamin Duterreau’s “The Conciliation” from 1840. Tasmania has long been a natural magnet for artists, from John Glover through Tom Roberts and on to Fiona Hall today. John Glover’s Tasmanian landscapes dating back to the 1840s never fail to impress wherever they are shown, but seeing them in their home surroundings, they always appear that much more impressive in my view. Early vistas of Hobart appear equally commanding, with works by Henry Gritten, Knut Bull and Eugene von Guerard on display. The latter’s “View of Hobart Town, with Mount Wellington in the Background”, 1856, represents the very best in Australian colonial art. Unsurprisingly, it sold for over $1.5 million at a Menzies sale in June 2016, and is now generously on loan to TMAG to sit amongst other worthy works from collectors Elias and Colleen Jreissati. [caption id="attachment_6145" align="alignleft" width="300"] The cover lot at Colville Gallery's Summer auction in Hobart was Haughton Forrest's "Mount Wellington", selling for $18,500 hammer price on 24 Feb. 2020.[/caption] Wandering the streets of Battery Point and Salamanca, we are surrounded by grand colonial buildings like in no other state. Its colonial art has given way to a burgeoning commercial art scene, including long established Despard Gallery, Bett Gallery and more recent galleries like Colville Gallery and artist-run initiatives such as Inka Gallery at the Salamanca Arts Centre. David Walsh’s Mona (Museum of the Old and New) of course has made Hobart global must-visit art destination. House prices have risen significantly in recent times, and with Hobart residents perhaps feeling wealthier, the purchase of art is more likely to be on the agenda. This may well be aided by Tasmania’s collect art purchase scheme, which enables buyers to purchase contemporary art from commercial Tasmanian art galleries with a 12 months interest-free loan for works up to $8,500. Apart from the support for the retail trade, there is now also more interest in the secondary art market, as Colville Gallery has organised fine art auctions three times a year since 2016 in their premises in Salamanca Place in Hobart. Their summer auction was held just on 24 February, with a bustling crowd of more than 40 people in the room, as well as phone and internet bidders, eager for auctioneer and gallery owner Trudi Curtis to get her gavel into gear. Though Colville Gallery is a contemporary art space, their fine art auctions appear to be a great opportunity to cross-pollinate with a mix of the more historical art, art from “mainland” contemporary artists and that of contemporary Tasmanian artists, which made up close to half of the 98 lots on offer. Boy with Red Fish (lot 1) by Tasmanian artist Zsuzsa Kollo who is represented by Colville Gallery, sold for $1,650 hammer price on $600-800 hopes. Meanwhile, leading mainland Australian artist Elisabeth Cummings’ Bush Study (lot 2) sold for $1,800 hp on estimates of $2,000-3,000. With a hark back to the colonial, more Sydney than Hobart, Conrad Martens’ Lumley (lot 3), a pencil drawing from 1836, sold for $1,000 hp to a room bidder. However a work attributed to John Glover, Castle Landscape (lot 4), failed to fire and passed in on $4,000-5,000 expectations. Institutional favourite Mike Parr’s work is always difficult to sell in the auction room, however, Trudi Curtis sold two of the 4 that were on offer. Self Portrait (lot 8) sold for $2,200 hp, whilst Animal (lot 19), sold for $1,800 hp. Two paintings by perhaps Tasmania’s other best-known painter, Haughton Forrest, were of great interest: Mount Wellington (lot 9), the cover lot estimated at $15,000-18,000, was keenly contested with a lady room bidder losing out to a phone bidder when the hammer fell at $18,500 hp. The lady bidder however didn’t miss out completely, managing to secure the smaller but also attractive Lighthouse Yacht (Ferry) (lot 14) for $4,500 hp on estimates of $4,000-6,000. Other popular paintings at the auction were Pro Hart’s Bush Races (lot 28), estimated at $3,000-5,000 and selling for $3,900 hp, Ken Done’s Reflections (lot 31), sold for $4,400 hp on hopes of $3,000-4,000 and Ann Thomson’s Discovery (lot 27) selling for $3,800 estimated at $3,000-5,000. It is impressive to see so many Tasmanian artists supported in the secondary market in this way and shows how the commercial gallery can work together with the auction room. Report originally published in Australian Art Sales Digest, 26 February 2020 The following article From Colonial to Contemporary at the Colville Gallery Summer Auction in Hobart was first published on: https://www.bhfineart.com/ The last auction for the year at Deutscher + Hackett on 27 November features two collections which couldn't be more different, and wonderfully demonstrate D+H's brilliant range in their offering. Lots 24 to 34 contains works from the Mainland Collection of Contemporary Asia Pacific Art; it was assembled with the idea of "The art of humanity: a cultural march through complex landscapes", with works by eminent contemporary artists hailing from Australia, New Zealand, Japan, Indonesia, China, Vietnam and Thailand, and ready to be discovered by a wider audience in Australia. Meanwhile, lots 35 to 41 are all by Kate O'Connor, one of our now highly revered artists who had immersed themselves in the Paris of the early 20th century, but struggled to get recognition after their return home. The 6 lots were collected by a close relative of O'Connor during 50 years and represent paintings from all periods of the artist's career. Both collections come with illuminating catalogue essays also available on the D+H website and well worth reading. We will be attending the sale in Melbourne, and would be delighted to assist you with due diligence and pre-purchase reports before the auction and also bid for you on the night. The viewing in Sydney is held at 16 Goodhope Street, Paddington, from 14 to 17 November. The viewing in Melbourne is at 105 Commercial Road, South Yarra, from 21 - 27 November. The auction is held on 27 November 2019, 7 pm, at 105 Commercial Road, South Yarra. David has picked no less than 24 "Dave's Faves" from the 118 lots at D+H: [caption id="attachment_6075" align="alignleft" width="264"] Lot 1 - Dorrit Black, Still Life (Dahlias), c1929-30, 39 x 33 cm, est. $25,000-35,000. Don't brush this one aside[/caption] [caption id="attachment_6076" align="alignleft" width="279"] Lot 3 - The Bamboo Blind, 1926, 15.5 x 15 cm, est. $8,000-12,000. A Girl's Own Adventure[/caption] [caption id="attachment_6077" align="alignleft" width="300"] Lot 5, Hans Heysen, The Midday Rest, 1909, est. $25,000-35,000. Grand, Central and Stationary[/caption] [caption id="attachment_6078" align="alignleft" width="300"] Lot 8 - William Robinson, Towards the Sea, from Springbrook, 1995, 137.5 x 183 cm, est. $200,000-300,00. Bill's, Big, Bold and Beautiful[/caption] [caption id="attachment_6079" align="alignleft" width="230"] Lot 10 - James Gleeson, Salvage from Random's Effigy, 1939-41, 45.5 x 35 cm, est. $20,000-30,000. Australian Surrealism Chapter 1[/caption] [caption id="attachment_6080" align="alignleft" width="214"] Lot 14 - Antony Gormley, Small Yield, 2015, 72.5 x 37 x 32.5 cm, est. $350,000-450,000. Please let us know if you need a heads up[/caption] [caption id="attachment_6081" align="alignleft" width="243"] Lot 25 - Alex Seton, Life Vest (Emergency), 2014, 51 x 34 x 40 cm, est. $25,000-35,000. Sink or Swim[/caption] [caption id="attachment_6082" align="alignleft" width="300"] Lot 39 - Kate O'Connor, Artist and Easel, Luxembourg Gardens, c1910-14, 44.5 x 54.5 cm, est. $20,000-30,000. First Rate, Kate[/caption] [caption id="attachment_6083" align="alignleft" width="300"] Lot 49 - Eugene von Guerard, Mt Kent, on the Wonnangatta, Gipps Land, 1873, 31 x 47 cm, est. $240,000-280,000. Eugene's hills are always alive[/caption] [caption id="attachment_6084" align="alignleft" width="300"] Lot 50 - William Charles Piguenit, An Autumn Sunset, Lane Cove River, NSW, c1910, est. $30,000-40,000. Piguenit's Pursuit of Perfection[/caption] [caption id="attachment_6085" align="alignleft" width="295"] Lot 55 - Margaret Olley, Red Room and Visitor, 2001, 76 x 76 cm, est. $45,000-65,000. A Room with a Pew[/caption] [caption id="attachment_6086" align="alignleft" width="300"] Lot 56 - Rick Amor, Study for Portrait, 2004, 81 x 100 cm, est. $30,000-40,000. Don't avoid this dark alley[/caption] [caption id="attachment_6087" align="alignleft" width="206"] Lot 62 - Arthur Boyd, Schoolboy Riding a Goa, c1954-1996, 76 x 39 x 30 cm, est. $20,000-25,000. Boyd's Blue Boy[/caption] [caption id="attachment_6088" align="alignleft" width="300"] Lot 66 - Albert Namatjira, Mt Gillen, Alice Springs, c1956, est. $20,000-30,000. Bert's Gums are the Best[/caption] [caption id="attachment_6089" align="alignleft" width="300"] Lot 67 - Adelaide Perry, Across the Lane Cove River, Woolwich, 1948, 55 x 77 cm, est. $4,000-6,000. This should put the Wind in your Sails[/caption] [caption id="attachment_6090" align="alignleft" width="300"] Lot 69 - Herbert Badham, Andante, 1953, 42.5 x 54 cm, est. $8,000-12,000. Take your Time[/caption] [caption id="attachment_6091" align="alignleft" width="300"] Lot 74 - Criss Canning, Still Life with Native Flowers and Pears, 1985, 74.5 x 85 cm, est. $18,000-24,000. It's Time to be canny[/caption] [caption id="attachment_6092" align="alignleft" width="300"] Lot 75 - Nora Heysen, Mushrooms, 1928, 51 x 62 cm, est. $8,000-12,000. MAGIC[/caption] [caption id="attachment_6093" align="alignleft" width="300"] Lot 77 - Peter Booth, Painting (Chair and Ladder), 1995, 36 x 41 cm, est. $15,000-20,000. Hello Darling, I'm back from IKEA, just got to put it together![/caption] [caption id="attachment_6094" align="alignleft" width="300"] Lot 80 - Yvonne Audette, Flooded Land, 1990, 114 x 153 cm, est. $15,000-20,000. The Drought is over[/caption] [caption id="attachment_6095" align="alignleft" width="244"] Lot 86 - Sidney Nolan, Elephants and Gazelles, 1963, 63 x 51.5 cm, est. $8,000-12,000. No White Elephants here[/caption] [caption id="attachment_6096" align="alignleft" width="233"] Lot 88 - Ray Crooke, Hotel Bedroom, 45.5 x 35.5 cm, est. $5,000-7,000. Excuse me, is there a gym?[/caption] [caption id="attachment_6097" align="alignleft" width="300"] Lot 90 - Sali Herman, Wangi Scene, 1948, 54 x 73.5 cm, est. $8,000-12,000. Bill Dobell's Day Off[/caption] [caption id="attachment_6098" align="alignleft" width="183"] Lot 114 - Ida Rentoul Outhwaite, The Pool, 1961, 42 x 26 cm, est. $6,000-9,000. The Garden of Earthly Delights[/caption] Dave’s Faves for Deutscher + Hackett Auction 27 Nov. 2019 is available on: Banziger Hulme Fine Art Consultants Sotheby's present 79 lots in their spring 2019 auction, with some truly outstanding offerings. We are particularly captivated by lot 26, "Woman in a Salon", William Dobell's portrait of Helena Rubinstein, founder of the eponymous cosmetics empire. What an extraordinary woman and life - and what a striking painting by one of our most incisive portraitists. Dobell created several portraits of this formidable self-made entrepreneur, illustrated in a separate brochure entirely dedicated to this lot. Remember the offering at Sotheby's in August this year of "The Dead Landlord", and you can see the breadth of Dobell's humanity. Starting the sale off however are two iconic photographs by Carol Jerrems, who captured the 1970s like no other Australian photographer; Jerrems' life was tragically cut short in 1980 at the age of just 31. We also like very much the assembly of several outstanding Australian impressionist paintings by Tom Roberts, Arthur Streeton, Rupert Bunny and John Russell. Howard Arkley is still very much in favour, and present with not one, but two stunning interiors, and both offered at auction for the first time since they were purchased in the early 1990s. If you have a chance, go and view the paintings in Melbourne or Sydney: 6 - 10 November, 14-16 Collins Street, Melbourne 14 - 20 November, 30 Queen Street, Woollahra The auction takes place on 20 November, 6.30 pm, at the Intercontinental Hotel in Sydney. You can also see all artworks online at Sotheby's website. We would be delighted to assist you with pre-purchase advice and due diligence reports on any lots to provide you with as much intelligence as possible prior to the auction and represent you on the night with experienced strategic bidding. Contact us on 02 9977 7764 or [email protected] if you would like to know more how we can assist you. And Dave's Faves for Sotheby's are (some with added links): [caption id="attachment_6003" align="alignleft" width="300"] Lot 1 - Carol Jerrems, Vale Street, 1975, 20.1 x 30.4 cm, est. $30,000-50,000. Vale Carol Jerrems - her photos however live on[/caption] [caption id="attachment_6004" align="alignleft" width="197"] Lot 2 - Juliet Holding Vale Street, 1976, 30.5 x 20 cm, est. $20,000-30,000. Don't hold back![/caption] [caption id="attachment_6005" align="alignleft" width="300"] Lot 14 - Hans Heysen, Ambleside 1924-25, 21.7 x 40.5 cm, est. $15,000-20,000. The Master of Light[/caption] [caption id="attachment_6006" align="alignleft" width="300"] Lot 15 - Arthur Streeton, The Landing Place (Hawkesbury River), 1896, 30.3 x 35.7 cm, est. $35,000-45,000. This could be the day to land your Streeton[/caption] [caption id="attachment_6007" align="alignleft" width="300"] Lot 16 - Tom Roberts, She-Oak and Sunlight, 1889, 30.5 x 30 cm, est. $220,000-280,000. "The perfect expression of one time and place" - Tom Roberts, July 1890[/caption] [caption id="attachment_6008" align="alignleft" width="300"] Lot 17 - Arthur Streeton, View from Mt Toorong (Study for Australia Felix), 1907, 18.5 x 24.2 cm, est. $40,000-60,000. Plein Air Panorama[/caption] [caption id="attachment_6009" align="alignleft" width="300"] Lot 18 - Tom Roberts, The Two Roads to Monbulk, 1924, 44.6 x 58.5 cm, est. $160,000-190,000. I can see the Forest for the Trees[/caption] [caption id="attachment_6038" align="alignleft" width="294"] Lot 20 - Arthur Streeton, Garden Green, 1940, 76.3 x 76.3 cm, est. $150,000-200,000. How green is my wheel barrow?[/caption] [caption id="attachment_6010" align="alignleft" width="300"] Lot 24 - Jeffrey Smart, Approach to a City III, 1968, 66 x 81 cm, est. $650,000-850,000. We're on a road to somewhere[/caption] [caption id="attachment_6011" align="alignleft" width="300"] Lot 26 - William Dobell, Woman in a Salon (Helena Rubinstein), 1960, 40.5 x 51 cm, est. $400,000-600,000. "There are no ugly women, only lazy ones" - Helena Rubinstein[/caption] [caption id="attachment_6012" align="alignleft" width="233"] Lot 33 - Howard Arkley, Neapolitan Delight 1993, 175.2 x 134.7 cm, est. $800,000-1,000,000. Colour eruption[/caption] [caption id="attachment_6013" align="alignleft" width="229"] Lot 35 - Howard Arkley, Plain and Fancy, 1993, 173 x 135 cm, est. $600,000-800,000. Fancy that[/caption] [caption id="attachment_6014" align="alignleft" width="300"] Lot 41 - William Robinson, Across the Gorge Landscape, 1988, 85.5 x 92.8 cm, est. $60,000-80,000. Gorgeous Gorge[/caption] [caption id="attachment_6015" align="alignleft" width="249"] Lot 43 - Fred Williams, Red Landscape, 1966, 86 x 71 cm, est. $100,000-150,000. Now let's not argue about the colour, please[/caption] [caption id="attachment_6016" align="alignleft" width="300"] Lot 45 - Margaret Olley, Melbourne Hotel, South Brisbane, 1948, 63 x 76.5 cm, est. $60,000-80,000. Living it up at the Hotel Melbourne[/caption] [caption id="attachment_6017" align="alignleft" width="300"] Lot 48 - Lloyd Rees, City Skyline, 1955, 35.7 x 44.8 cm, est. $30,000-40,000. Spires to inspire[/caption] [caption id="attachment_6018" align="alignleft" width="239"] Lot 58 - Herbert Badham, Port Said 1954, 38 x 30.5 cm, est. $10,000-15,000. He said, she said, Port Said[/caption] [caption id="attachment_6019" align="alignleft" width="233"] Lot 60 - Weaver Hawkins, Rola 1933, 91.5 x 70.4 cm, est. $35,000-45,000. I've been everywhere man, Ballarat, Melbourne, Hamilton, Castlemaine, Geelong, Horsham, Ararat, Mildura, Sale, Warrnambool, Newcastle, Brisbane, Sydney (with apologies to Lucky Starr)[/caption] [caption id="attachment_6021" align="alignleft" width="216"] Lot 65 - Brett Whiteley, Spooked by Egypt, 1984, 70 x 50.2 cm, est. $25,000-35,000. The Eyes have it[/caption] [caption id="attachment_6022" align="alignleft" width="300"] Lot 69 - Robert Klippel, Untitled, 1992, 92.5 x 122 cm, est. $10,000-15,000. Colour me badd[/caption]
Sotheby’s Fine Art Auction 20 November 2019 is available on: https://www.bhfineart.com/ We all love a good home contents auction, but "Fairwater" in Point Piper is not just any old home, but the ultimate Sydney harbour front mansion on 11,000 m2 of manicured grounds. The largest privately-held property on Sydney harbour was owned by the Fairfax publishing dynasty for over 100 years. This year the family sold it for $100 million, the highest price ever for an Australian residential property, to new money, tech entrepreneur Mike Cannon-Brookes. The 376 lots comprise everything from Persian carpets, grandfather clocks, crystal, porcelain and silverware, tapestry, Buddha statues, chandeliers and all manner furniture, to Australian and international art. There are some stand-out bronze sculptures by Auguste Rodin and works by Marc Chagall, Edgar Degas and other European greats - but you will have to bid at Bonhams in London for those. In the Sydney auction however, there is an extremely important study of the portrait of Joshua Smith by William Dobell on offer, made famous by a famous court case. You would think given the loss in a house fire of the original painting that won the Archibald Prize in 1943, this is the painting that the Art Gallery of New South Wales has to have. The viewing is held in Sydney only from 14 to 21 September, 10 am - 4 pm, at 36-40 Queen Street and 97-99 Queen Street, Woollahra. The auction is held on Sunday, 22 September, 1 pm, at 36-40 Queen Street, Woollahra. You can view the catalogue also online on the Bonhams website. Other notable offerings from the collection include works by Margaret Preston, Bertram MacKennal, Charles Blackman, so David has gone through the whole home content catalogue and chose his art "Dave's Faves" and picking some other rather intriguing lots: [caption id="attachment_5952" align="alignleft" width="274"] Lot 11 - Bertram Mackennal, Salome, c1895, height 29 cm, est. $15,000-25,000. Bertie's Bronze Beauty[/caption] [caption id="attachment_5953" align="alignleft" width="294"] Lot 12 - Margaret Preston, Coral Flowers, 36 x 35.5 cm, est. $30,000-50,000. One to bowl you over[/caption] [caption id="attachment_5954" align="alignleft" width="300"] Lot 31 - Charles Blackman, The Meeting, 1961, 121 x 121 cm, est. $250,000-350,000. Paint it Black(man)[/caption] [caption id="attachment_5955" align="alignleft" width="300"] Lot 180 - Patrick Hockey, Spring, 1977, 90.5 x 121 cm, est. $2,500-35,00. Nicely Sprung[/caption] [caption id="attachment_5956" align="alignleft" width="240"] Lot 198 - George Edwards Peacock, Port Jackson, NSW, View in Double Bay, looking towards St. George's and Middle Heads, Morning, 1847, 13.5 x 19 cm, est. $20,000-30,000. Double Peacock at Double Bay[/caption] [caption id="attachment_5957" align="alignleft" width="214"] Lot 251 - William Dobell, Study for Portrait of an Artist (Joshua Smith), 1943, 36 x 25.5 cm, est. $200,000-300,000. Get in quick B4 AGNSW[/caption] [caption id="attachment_5958" align="alignleft" width="215"] Lot 216 - Sali Herman, Portrait of Warwick Fairfax, Esquire, 1941, 72 x 52 cm, est. $30,000-50,000. Can't believe it's not Freud[/caption] [caption id="attachment_5959" align="alignleft" width="300"] Lot 220 - Vic O'Connor, The Acrobats, 1941, 60 x 75 cm, est. $15,000-20,000. Enjoy a Tumble[/caption] [caption id="attachment_5961" align="alignleft" width="300"] Lot 226 - Russell Drysdale, Solider rolling a cigarette, 19 x 19.5 cm, est. $4,000-6,000. Don't stop smokin'[/caption] [caption id="attachment_5962" align="alignleft" width="300"] Lot 227 - Russell Drysdale, Soldiers applying a Bandage, 17 x 26 cm, est. $4,000-6,000. I dig these Diggers[/caption] [caption id="attachment_5960" align="alignleft" width="244"] Lot 221 - Andrew Lawlor, Nude in Archway (Banner of Blood), c1940, 55 x 44 cm, est. $8,000-12,000. Not quite lawless[/caption] [caption id="attachment_5963" align="alignleft" width="300"] Lot 232 - Hans Heysen, The Farmyard, Frosty Morning, 1926, 70 x 90 cm, est. $80,000-120,000. Where to begin ... well it won the Wynne[/caption] [caption id="attachment_5964" align="alignleft" width="300"] Lot 233 - Elaine Haxton, Woolloomooloo, 34 x 42 cm, est. $8,000-12,000. Not exactly a hullabaloo at Woolloomooloo[/caption] [caption id="attachment_5965" align="alignleft" width="300"] Lot 234 - Sali Herman, A Western Hotel, Cobar, 1947, 53 x 74 cm, est. $20,000-30,000. Cobbers at Cobar[/caption] [caption id="attachment_5966" align="alignleft" width="300"] Lot 331 - Arthur Boyd, Lovers, c.1962-3, ceramic painting, 51 x 56 cm, est. $20,000-30,000. Fancy a night on the tiles?[/caption]
[caption id="attachment_5967" align="alignleft" width="286"] Lot 128w - A life sized Steiff plush mohair "Ride on" growler bear on wheels, c1950, 90 cm high, est. $400-600. Looking for his meal - on wheels[/caption]
[caption id="attachment_5983" align="alignleft" width="300"] Lot 127w - An assembled group of Victorian silver rattles, est. $800-1,200. The perfect gift for silver spooners[/caption] [caption id="attachment_5968" align="alignleft" width="252"] Lot 192w - A Victorian Staghorn Inkstand, ca 1880, 39.5 cm high, est. $300-500. Oh Deer[/caption] [caption id="attachment_5969" align="alignleft" width="289"] Lot 223w - A crocodile skin vanity case with silver accessories, Drew & Sons, Piccadilly Circus, London, 1903, est. $500-800. Be the snappiest dresser ever[/caption] [caption id="attachment_5978" align="alignleft" width="198"] Lot 251w - A French empire maple giltwood and gesso concert harp, early 19th century, by Sebastian Erard, once in the ballroom of the Pierre Hotel Fairfax penthouse New York, est. $1,500-2,000. It's never too late to learn something new[/caption] [caption id="attachment_5979" align="alignleft" width="300"] Lot 317w - An assembled group of Italian table ornaments, Brandimarte Firenze and others, with a pair of angel form table bells, 2 pairs of metal salts in the form of horse drawn chariots with putto and 18 cherub form place card holders (24), est. $400-600. Have you seen the salt, darling?[/caption] Dave’s Faves for Bonhams “Fairwater” auction on 22 September 2019 was first published on: www.bhfineart.com The Menzies Fine Art Auction on 26 September in Sydney promises some very nice offerings among the 120 lots.
[caption id="attachment_5889" align="alignleft" width="300"] Lot 4 - John Peter Russell, Still Life Interior Scene, 36 x 51.5 cm, est. $4,000-6,000. Rare Still Life from Artist Always on the Move[/caption] [caption id="attachment_5890" align="alignleft" width="300"] Lot 9 - Banksy, Trolleys, 55.5 x 76.5 cm, est. $15,000-20,000. Thank you for shopping at Coles[/caption] [caption id="attachment_5891" align="alignleft" width="300"] Lot 10 - Tim Storrier, The Evening Line, 40 x 50 cm, est. $15,000-25,000. Come on Baby light my fire[/caption] [caption id="attachment_5892" align="alignleft" width="235"] Lot 19 - Eric Wilson, Still Life, 59.5 x 49 cm, est. $22,000-28,000. Excuse me, I'm just having a Pieter Claesz moment[/caption] [caption id="attachment_5893" align="alignleft" width="300"] Lot 21 - Rick Amor, The Returning Storm, 81 x 100 cm, est. $30,000-40,000. I would like this Storm in my Teacup[/caption] [caption id="attachment_5894" align="alignleft" width="300"] Lot 30 - John Olsen, Evening with Passing Wildflowers, 135 x 150.5 cm, est. $100,000-150,000. One to go wild for[/caption] [caption id="attachment_5895" align="alignleft" width="199"] Lot 31 - Andy Warhol, Mick Jagger, 110 x 73.5 cm, est. $35,000-45,000. You can't always get what you want ... or maybe you can[/caption] [caption id="attachment_5896" align="alignleft" width="229"] Lot 34 - Rick Amor, The Waiter, 130 x 100 cm, est. $150,000-200,000. Well what are you waiting for ... bid![/caption] [caption id="attachment_5897" align="alignleft" width="300"] Lot 36 - William Robinson, Goomoolahra with Butterfly, 122 x 183 cm, est. $250,000-350,000. Billy Boils[/caption] [caption id="attachment_5898" align="alignleft" width="240"] Lot 38 - Howard Arkley, Room with Pink Chair, 150 x 120 cm, est. $350,000-450,000. Quality Home Furnishings[/caption] [caption id="attachment_5899" align="alignleft" width="215"] Lot 42 - Emily Kame Kngwarreye, My Country, 211 x 153 cm, est. $160,000-220,000. Escape to the Country[/caption] [caption id="attachment_5900" align="alignleft" width="300"] Lot 45 - Charles Blackman, Mr Rabbit reads to Alice, 133.5 x 378 cm, est. $90,000-120,000. That Old Blackman Magic[/caption] [caption id="attachment_5901" align="alignleft" width="263"] Lot 52 - Sidney Nolan, Kimberley Landscape - Prince Regent River, 182 x 160 cm, est. $50,000-70,000. Nolan's Rolling Landscape[/caption] [caption id="attachment_5902" align="alignleft" width="245"] Lot 54 - Sidney Nolan, Kelly, 63 x 51.5 cm, est. $32,000-40,000. Time for a Heads Up[/caption] [caption id="attachment_5903" align="alignleft" width="147"] Lot 63 - Phillip Piperides, Stepping Bather, 171 x 57 x 64 cm, est. $24,000-30,000. Don't get pipped at the post[/caption] [caption id="attachment_5904" align="alignleft" width="300"] Lot 71 - William Robinson, Chooks, 55 x 74.5 cm, est. $20,000-30,000. Finger lickin' good[/caption] [caption id="attachment_5905" align="alignleft" width="300"] Lot 81 - Albert Namatjira, Central Australian Landscape, 26 x 37 cm, est. $12,000-16,000. Visibility today 25 kilometers[/caption] [caption id="attachment_5906" align="alignleft" width="300"] Lot 83 - Hans Heysen, Ploughing, 24.5 x 36.5 cm, est. $10,000-15,000. Time to cultivate your interest[/caption] [caption id="attachment_5907" align="alignleft" width="300"] Lot 100 - Euan MacLeod, Figure and Light Rock, 50.5 x 76 cm, est. $3,000-5,000. Rock Solid[/caption] [caption id="attachment_5908" align="alignleft" width="300"] Lot 113 - Norman Lindsay, Study for Reclining Nude, 24 x 37.5 cm, est. $5,000-8,000. Pencilled Passion[/caption] [caption id="attachment_5909" align="alignleft" width="148"] Lot 122 - John Olsen, Frog, 15.5 cm height, est. $6,000-8,000. Catch me if you can[/caption] [caption id="attachment_5910" align="alignleft" width="300"] Lot 123 - Pablo Picasso, Couple et Voyageuse, from La Serie 347. 22.5 x 29 c, est. $4,000-6,000. Picasso for Peanuts[/caption] [caption id="attachment_5911" align="alignleft" width="246"] Lot 125 - Brett Whiteley, Lavender Bay Wharf, 60 x 50 cm, est. $7,000-10,000. Not much to pay for Lavender Bay[/caption] Dave’s Faves for the Menzies Auction 26 Sept. 2019 is republished from: Banziger Hulme Fine Art Consultants |
AuthorBanziger Hulme Fine Art Consultants are a member of the Art Consulting Association of Australia. When you need the best, most accurate, independent advice on art valuations, sales or purchases contact BH Fine Art, Australia's art experts. ArchivesNo Archives Categories |