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It has been just over six weeks since a daring smash and grab raid in the wee small hours of 1 April took place in Parnell Road while most Aucklanders were sleeping.
The object of the smash and grab was to steal the two magnificent ancestral Maori portraits of the Chief Taiaho Hori Ngatai and his wife Raure Ngatai by Gottfried Lindauer from the window of the International Art Center and prevent them going to auction.
Estimated to be worth around half a million dollars each, the thieves and the two paintings have gone to ground, and although the police originally had more than a dozen people of interest they are still requesting anyone with information to come forward.
Day Two of the Warwick and Kitty Brown Collection was reserved mostly for works on paper and smaller oils from their extensive collection. Opening with the classic Colin Mc Cahon ''mulitple'' from the Barry Lett Galleries of 1969 this powerful screenprint originally purchased for $3.00 in 1969 (12 for $36.00) sold well at $4,600 against its pre-sale estimate of $3,000 - $4,000 setting a standard that was to continue unabated for the remainder of the sale, creating some amazing prices for the lesser works on paper.
The two day sale of the Warwick and Kitty Brown Collection at Mossgreen-Webb's on the 17th and 18th of May was always going to be a big event in a raft of many different ways and it certainly was a momentous occasion.
The auction was the subject of a major build up with presale exhibitions of selected works held at Galleries in Auckland Wellington and Christchurch along with public speaking engagements by the surviving vendor, Warwick Brown, M.N.Z.M. lawyer, gallerist, writer, artist and collector.
The auction house produced an extensive and lavish 131 page catalogue to accompany the 2 day sale of 190 works and the auction was an eagerly awaited event in the auction calendar, with well over 200 people being present for the major works on day one. .
By all accounts so far this year, the non-Indigenous art market looks to be finally breaking out of its “decade of torpor”[i]. The results of Mossgreen’s Fine Australian Indigenous Art sale last night, however, would suggest that this sector, while not moribund, is still mired in a morass of its own making.
With a single owner core of 96 works, several of which sold at large discounts to their purchase prices, along with a few contemporary highlights from mixed vendors, and a dose of desperate dealer stock, the 193 lot sale was never going to be a Laverty or Vroom affair. And the market responded accordingly, with only 49% clearance by both number and value, and with the top ten lots all settling in the $20-50,000 bracket.
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They will analyse the available data and put your artwork into perspective by giving you a price range of comparable works sold by the artist.