Carrying a presale estimate of $916,000, Part One’s 106 lot offering is dominated by works of the two dimensional kind with only the odd sculpture appearing in the Avery Collection. The sale is presented as a component of Mossgreen’s six-part Spring auction series that also encompasses Fine Chinese & Asian Art and the contents of Dunraven; a reminder that Mossgreen’s multi-department auction model draws from a wide range of sources.
Hence their art auctions are not considered, nor aim to be curated affairs, but are broad platforms that sometimes deliver surprises and curiousites.
The main drawcards of the sale include John Brack’s Untitled (Reclining Nude) 1981 (Lot 2 ), an attractive and desirable pencil drawing estimated at $30-40,000.
Howard Arkley’s Shadow Factories (Lot 8 ) last offered at Sotheby’s in 2008 during the economic downturn and unsold, reappears with an adjusted estimate to reflect 2010 prices. Its estimate of 120-180k is 30% lower and may prove enticing to Arkley afficiandos.
However the absence of Sotheby’s quoted provenance for the Arkley (albeit listed generically as ‘Private Collection, Melbourne’) draws attention to the overall thinness of provenance details provided within the catalogue. While there may be reasons why Mossgreen do not closely observe this protocol, it may be prudent and even financially beneficial to start including more of this information.
Continuing down the well–trodden landscape path is a gouache, Geelong Landscape 1967 (Lot 4 ) by Fred Williams estimated at a confident $40-50,000 and a large watercolour with chocolate box touches, Hawthorn Blossom, Brownhill Creek 1917 (Lot 11 ) by a seldom featured British artist, Walter Follen Bishop at $20-30,000.
Collectors of George Baldessin’s nudes and figures are in the unusual position of being spoiled for choice; three well known etchings are on the block, along with an exceedingly rare opportunity to secure a drawing. You could barely count on one hand the number of charcoal or ink works offered since the early 1990s. The colour pastel, Night Personage 1977 (Lot 5 ) is estimated at a hefty $25,000-35,000, presumably the scarcity of this medium driving its price tag.
Never afraid to step outside the traditional boundaries of fine art, Mossgreen is offering the work of a sports and equine artist well-regarded for his Australia Post Stamp designs. Brian Clinton was commissioned by the Victoria Racing Club to create a limited original print to mark the Club’s 150th Anniversary and his original painting for the print, The Greatest Cup Never Run (Lot 13 ) is being auctioned with a low estimate of $60,000.
Part of the sale proceeds will be donated by the VRC to Mission Australia. Bets are on and hopes afloat that a lucky punter with deep pockets revelling in the afterglow of the Spring Racing Carnival will be tempted to raise their hand.
The Avery Collection adds a touch of colour to the catalogue –provided not only by the palette of the paintings, but additionally through the reputation of its consignor. Lawyer, John Avery, jailed for stealing over $500,000 from his clients to fund his art collection is now selling it to repay his debts.
Previously he was best known for obtaining a guilty plea from Port Arthur mass murderer Martin Bryant. Notoriety nowadays doesn’t seem to be such a dirty word, and in Avery’s case the surrounding publicity may well elevate his eclectic 50 lot collection beyond its somewhat ordinary calibre. The bulk of the collection comprises works by lesser known artists, with many priced to sell under $1,000. The highest estimates (up to $8,000) belong to works by prominent artists including David Bromley, David Keeling, Bill Henson, Peter Atkins and Stuart MacFarlane. The latter added irony to this cautionary tale of blind passion by painting Avery’s portrait for this year’s Archibald Prize.
In a sale heavily weighted by volume towards works under $10,000, with only 25% of lots exceeding that low threshold.
A successful private treaty sale conducted in tandem with the November Spring series could dramatically lift their art results. In the wake of their catalogue close-off, Mossgreen secured a large and grand modern. John Olsen’s Darlinghurst Cats 1962 has not been offered in over a decade and its provenance lists John Kaldor as the original owner.
If Mossgreen manage to sell the work around its $600,000-700,000 asking price then it might come within firing range of the entire sale total for Part One and end Mossgreen’s year on a high note.
