Deutscher & Hackett’s final auction for the 2019 season produced sound results and reinforced the desire for quality works of art by discerning collectors.
It's no surprise that the appeal for traditional art continues to gather momentum after somewhat floundering over the last ten years, probably due to the establishment of resale royalty, copyright, generational change and auction house concentration of the modern sector of the marketplace.
Regular auction attendees know only too well that first lot can set the mood for the remainder of the auction, so there was no disappointment when Dorrit Black’s Still Life, Dahlias (Lot 1 ) carrying a pre-sale estimate of $25,000-35,000, sold for $67,100 to a determined phone bidder.
This year’s Heysen exhibition at the NGV has renewed interest for the works of both Hans and Nora Heysen. Hans Heysen, The Midday Rest (Lot 5 ) with an estimate of $25,000-35,000 sold to the auctioneer’s commission bid for $42,700. The historical work Mount Kent, Gippsland by Eugene Von Guerard (Lot 49 ), estimated at $240,000-280,000 sold to room bidder art consultant Mark Hughes for $341,600. The masterly painted Wattle Gatherers by Penleigh Boyd (Lot 51 ), estimate $25,00-35,000, drew strong interest from Geoffrey Smith and Cameron Menzies before being hammered down to art advisor Ian Rogers for $73,200. The South Coast, Victor Harbour by Hans Heysen (Lot 65 ) which sold to Mark Hughes for $23,180 was estimated at $18,000-24,000. A classical watercolour by Albert Namtajira underpinned the artists popularity with Mount Gillen, Alice Springs (Lot 66 ) selling for $39,040 against an estimate of $20,000-30,000. William Charles Piguenit, An Autumn Sunset, Lane Cove River, NSW (Lot 50 ), estimate $30,000-40,000, was keenly sought after, eventually selling to a phone bidder for $85,400
The modern works performed admirably. Arthur Boyd’s typical Shoalhaven Landscape (Lot 7 ) estimate $70,000-90,000 sold for $146,400 after a battle on the telephone table. Mark Hughes purchased William Robinson's Towards the Sea from Springbrook (Lot 8 ) for its low estimate of $200,000 (hammer), $244,000 (IBP). A phone bidder paid $51,240, against an estimate $25,000-35,000 for Still Life on a Terrace by Justin O’Brien (Lot 9 ) and Mark Hughes acquired Fred Williams Acacias in the You Yangs II (Lot 46 ) for $195,200. A powerful work by Tony Tuckson Untitled, (Lot 44 ) estimated at $40,000-60,000 sold to the telephone for $100,040 after being underbid by collector Rod Andrew. Sing Ging Village by Ian Fairweather (Lot 42 ) sold at the low estimate for $183,000 to the phone table.
The catalogue cover painting John Brack's Yellow Legs, (Lot 13 ) was overflowing with movement and vibrance. Estimated at $600,000-900,000, Yellow Legs was strongly contested in the room and phone, eventually selling to a phone bidder for $1,195,600.
The Mainland Collection of 11 Asia-Pacific paintings were always going to be a challenge, and the auction house should be commended for exploring a wider market. Of the 11 Mainland Collection paintings offered, only four works found buyers. The best result was for a work by the Japanese artist Chiharu Shiota. Estimated at $30,000-40,000 State of Being (Guitar) (Lot 27 ) sold for $57,340 after intense bidding on three telephones.
A collection of Kate O’Connor’s also received a mixed reception with The Algerian Hat (Lot 35 ) estimate $60,000-80,000 finding a new home to an auction commission bid for $73,200.
With the current Antony Gormley exhibition at the Royal Academy in London, Small Yield, (Lot 40 ) was set to attract solid interest. This exquisite sculpture by Gormley set an Australian auction record for the artist. Estimated at $350,000-450,000 the sculpture was hotly contested, before being sold for $549,000.
John Olsen, Roger Kemp and Joy Hester received buyer resistance probably due to the quality of the works whilst arguably one the most outstanding results was for Gwyn Hanssen Pigott, Purple Cluster with Grey Bottle (Lot 21 ). With an estimate of $8,000-12,000, the Hanssen Pigott attracted fierce bidding before being sold to a phone bidder for $51,240.
With a number of lots not shown during the auction, curiously, there was no video presentation to keep the ‘room’ focused, necessary to retain a theatre of intensity and a change of auctioneer with only 118 lots on offer. Regardless, the auction totaled a respectable $4,185,800 hammer price ($5,106,676 incl. BP) against a pre-sale estimate was $3,802,500-$5,188,500. Clearance by lot was 77% and 110% by value.
With the significant works of traditional, modern and contemporary sectors of the market all being robustly supported throughout 2019 and with important works set to appear in the new year, the 2020 auction season is very likely to be a defining ‘moment’ for the Australian art market.
Sale prices include buyer’s premium unless otherwise noted.
