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News and Opinion

Art forgery case pits Louise McBride versus the art establishment

A forgery case that has hit the headlines and reached the Supreme Court reveals corruption in the art market at the highest levels. Louise McBride - barrister, art collector and daughter of Dr William McBride, the celebrated but controversial obstetrician - is a passionate woman. So when the tall, raven-haired lawyer learnt in 2010 that her prized Albert Tucker painting, Faun and Parrot, 1967 - which she'd bought for $85,000 from Christie's Auction House a decade earlier - was a fake, she resolved to take on Australia's art establishment, writes Anne Davies in the Sydney Morning Herald.

Australia's “Blondie” turns heads at white-hot London art fests
By Terry Ingram on 20-Oct-2014 (Exclusive to the AASD)

What was once thought of as a faulty acquisition by the National Gallery of Victoria is helping re-enforce a major new trend emerging from the London art scene this northern autumn.

A “disappearing” hand in the NGV's portrait of a man with curly white hair by Rembrandt is now seen as evidence of the creativity and audacity of many of the world's leading artists in their maturity.

The painting, Portrait of a white haired man,  has been loaned to an exhibition  Rembrandt: The Late Works  which is on view at the National Gallery until January 18, its celebrated cut-off hand now a value point.

The Feud That’s Shaking Gallery Walls

American billionaire Ronald O. Perelman has collected art for as long as he’s been collecting companies. His trove of postwar and contemporary work, amassed over more than 30 years and spread among his Manhattan townhouse, East Hampton estate and 257-foot yacht, is estimated to be worth more than $1 billion.

Today, however, he wants to exhibit a different side of the art world. Through a lawsuit against his former friend and art dealer Larry Gagosian, Mr. Perelman has set out to expose what he calls the "dirty" side of the glamorous, opaque, $60-billion business of buying and selling high-end art, writes Robert Frank in the New York Times.

Christie's sale helps to plug leak in Vienna's strong support for Aboriginal art
By Terry Ingram on 17-Oct-2014 (Exclusive to the AASD)

Australian Aboriginal art received a big tick on the London art market this week although not a jot of it was offered for sale and any immediate pressure for a forced sale was removed.

The pressure on it, which originated in Viennese bathtubs has been removed by the takeover of the museum which houses a holding of Aboriginal art in a friendly collector deal.

What was reported as the most successful sale of a contemporary single owner art collection by auctioneers Christie's, and was held on behalf of the museum, writes Terry Ingram from London.

Standing room only for Nolan’s later works
By Petrit Abazi on 14-Oct-2014 (Exclusive to the AASD)

One of the largest auction crowds in recent memory defied Melbourne’s tempestuous weather in an attempt to secure original works by one Australia’s most highly regarded Modern Masters, Sidney Nolan at Bonham's sale of Important Later Works From The Estate of Sir Sidney Nolan on 13 October 2014. The front page editorial in Melbourne's Age , on the Thursday prior highlighting the bargain offering, ensured a larger than expected turnout. All seats were taken half an hour before the start of the sale and many jostled to get a glimpse of the heated action.