To start, AGOD is the vendor of the stock which gives them the ability and (ethical) impetus to remove the buyers premium charge, and additionally the works will be sold GST inclusive.
Secondly, Ebes proclaims that with 75% of his lots created between 1973-2000 this will not be a "wet paint" auction, a clear and somewhat precarious trend of recent years,
Finally, and perhaps most interestingly, the auction is structured in a very straightforward manner which appears to have the buyer’s comfort in mind; paintings are grouped together within a nominated price bracket and auctioned in four one hour sessions across the afternoon, with a 15 min break scheduled in between.
The auction kicks off at noon with paintings estimated below $1000 and at 1.15pm paintings priced under $2000 go under the hammer followed by works under $5,000 at 2.30pm and so on. The evening session will host AGOD’s premium works by artists including Clifford Possum, Rover Thomas, Queenie Mackenzie and Minnie Pwerle with reserves set between $8000–180,000.
In the wake of Philips’ Auctions Melbourne successful unreserved auction last month, Ebes is convinced that Aboriginal art market needs to rebuild from the ground up by selling art with readjusted and realistic reserves, and with his large holdings of stock by significant aboriginal artists, he is in a position to act upon it.
One would deduce that the slow negotiated sales method of the gallery world does not presently suit his desired pace for change, while the short window of opportunity to seize a good buy provided by the auction model does. While Ebes is not prepared to completely surrender his stock to the consequences of an unreserved auction he is dangling the ‘bargain” carrot to his public by advertising “reserves are set for most lots well below the lower estimate”.
Issues of provenance are never far away from Aboriginal art, While AGOD emphasise that all paintings ,whether they originate from community art centres or were commissioned by the gallery directly, are sold with accompanying certificates and visual documentation – the question is, will this be enough to placate nervous collectors fixated on first tier provenance?
The auction has already ruffled a few industry feathers in relation to provenance, demonstrating that there is a long way to go before a sensible, clear and informed resolution can be found. Regardless, Ebes is likely to take this reaction as a sign of life and fight in the market and that he is on to something with his new project!
