Since joining Christies in the early 1980s he has been instrumental in repatriating major works back to Australia from the UK and Europe, including Eugene Von Guerard’s View of Geelong, which was sold to Geelong Art Gallery from its vendor, Sir Andrew Lloyd Weber.
Pleasingly, Lambourn has brought a few major works of Australian interest to market for Christie’s October 10 Australian Art sale. Regrettably these are in the minority. Of the 99 lots offered, there are only a handful that are likely to generate significant interest and allure to buyers who face steep premiums, VAT, GST and shipping costs should they wish to bring works ‘home’.
It is worth noting 40 lots offered in this sale are by Sir Sidney Nolan. The bulk of these are minor works on paper marketed as ‘Nolan to 1960’. Australia’s other renown expatriate modernist – Arthur Boyd - is also well represented.
Surprisingly, Lambourn and his team elected his 1973 work, Figure Holding Canvas (Lot 87 ) to illustrate the catalogue cover.
The catalogue entry on Figure Holding Canvas contextualises it from one of Boyd’s ‘most challenging and confronting series’. One can’t help but feel that the Christies auctioneer charged with conducting this sale, which carries a low estimate of only £664,800, will find it a ‘challenging and confronting’ experience too.
The auctioneer won’t have to worry about Mary Anne Friend’s sketchbook from 1830 – 1832 (Lot 6 ). The sketchbook includes a collection of watercolours and writings that study Fremantle and surrounds soon after its acquisition by the British in 1829.
Estimated at £100,000-150,000, it is reminiscent of Edward Close’s sketchbook that detailed scenes from a colonial Sydney (circa 1817 – 1840) and realised $900,000 IBP in Sotheby’s May, 2009 sale. There is bound to be interest and competition from major private collectors and institutions. Kerry Stokes is unlikely to let this item get away.
Similarly, lot 50, Russel Drysdale’s Green-Hide Jack at the Mail Box, 1950, will excite those on Christie’s mailing list. The catalogue provides intriguing insight into the provenance of this work.
It was purchased by Sir Philip Dunn, the son of Canadian financier and industrialist, Sir James Hamett Dunn. Sir Philip inherited his father’s eye and appetite for acquiring great pictures and bought Green-Hide Jack after it captivated his attention in the window at Leicester Galleries.
A scattering of rare works such as Lot 8, the John Michael Skipper, an early John Peter Russell (Lot 12 ) and Arthur Boyd’s, Budgong Creek Road on copper (Lot 89 ) will generate interest, however one can’t help but feel remaining items have been included to pad out the sale.
Undoubtedly, the bulk of works are fresh to market but given Christies’ team had 12 months to pull this sale together it is a shame they failed to produce a sale with more depth.
