Issues of oversupply, authenticity and poor quality have dogged Aboriginal art in recent times. The Philips sale addresses these circumstances head on by dropping estimates substantially and taking the uncommon step of explicitly stating the original prices paid (revealing most are estimated at 60-85% less) thereby eliminating much guesswork.
This intriguing tactic provides a psychological filip, and should provide encouragement to the less knowledgeable, less confident or waivering potential buyer who may feel more motivated to bid when they realise they could secure a bargain.
Director, Tony Philips hopes that by publishing the original retail prices people will have "the confidence to bid and know that they are not paying too much”. His strategy of transparency also aims to differentiate the sale from the prolific down-market clearance auctions that at best offer stock drowning in mediocrity.
To counter concerns about authorship, all lots are accompanied by certificates of authenticity, the majority from Australian Contemporary Aboriginal Art, and most are supported by a multitude of photographic documentation. Willy Tjungurrayi’s work Tuli Tjuta 2005 (Lot 22 ), est $5000-7000 presents a blow-by-blow, eye-witness account, with a staggering 54 photos, even including one of Willy sharpening his toothpick-fine painting stick!
Quality is high at Philips’ sale with many splendid and grand-scaled paintings featured including work by Ningura Napurrula Ngaminya 2005 (Lot 17 ), est $5000-7000 and Walangkura Napanangka’s Women’s Ceremony 2005 (Lot 20 ), est $10,000-15,000. The second tier provenance, however, may prove challenging to purist collectors who are only comfortable with the widely-regarded A-grade provenance of, say, Papunya Tula Artists for Western Desert art or Rodney Gooch in relation to Utopia artists.
This schism between provenance and quality has remained a bone of contention for at least a decade and has left many in the trade unhappy. Maybe Philips auction will provide a platform or catalyst for the more rigorous conversation the Aboriginal art fraternity needs to have. At the very least, the collector response to the sale may point to the future direction/s for a market experiencing a prolonged correction.
The sale presents a mix of high quality decorative work by artists including Dolly Mills Petyarrre’s appealing Alhalkere 2005 (Lot 2 ), est $2500-3500, to paintings that offer a “whole lotta bang for your buck” such as Nyurapayaia Nampitjinpa aka Mrs Bennett’s work, Untitled 2005 measuring almost 3 x 3 metres and estimated at a low $5000-7000 (Lot 16 ).
Recent market favourites who are not shining now as brightly appear in the form of Lily Kelly Napangardi with Sandhills 2005 (Lot 4 ) estimated 80% below its original gallery price which may provide the impetus for renewed speculation.
An artist who bucks the current trend and continues to be highly collectable is featured in the sale; the work of widely acclaimed Tommy Watson should command bidder attention with Kungkarrakalpa (Lot 12 ) which is quoted at $2500-3500, a huge reduction when compared with its $11,000 purchase price.
The response to the highest estimated lot in the auction, Clifford Possum’s well documented late period painting, Bushfire Dreaming 2000 (Lot 19 ), est $16,000-22,000 will also be interesting to observe.
Enticing collectors and buyers with the allure of unreserved lots accompanied by very low and realistic estimates, Philip’s single vendor sale places the bidder in the driver’s seat. The decision to allow the buyers to set the pace, pitch and price is an acknowledgement of the market’s tough, unrelenting conditions and is an attempt to shift the dynamic. This auction is a rare occasion where free market forces will be fully unleashed...the response and results will be telling.
