The sale started strongly with a couple of great results for the finest lots in the Bidyadanga section. Lot 1 Kirriwirri, 2006-2007, a five panel work by Jan Billycan, proved to be enticingly estimated at $15,000-20,000 when it sold for $32,000 hammer ($39,040 IBP). As did Lot 2 All the Jila, 2007 by Daniel Walbidi which attracted a bidding duel over the phones before selling for $39,000 hammer ($47,580 IBP), far exceeding the expected $18,000-25,000. Both lots went to international buyers.
Lot 10 was the highly anticipated Ruby Plains Massacre 1, 1985 by Rover Thomas, bought by Luczo at Sotheby’s in 2007 for $300,000 hammer ($360,000 IBP). This incredibly important painting managed to hold its value by selling again for $300,000 hammer ($366,000 IBP). Deutscher and Hackett’s Aboriginal Art Specialist Crispin Gutteridge was not at liberty to confirm whether the painting had been bought by an institution, but my sources tell me that either directly or indirectly, that is where the work will likely find a home – and let’s hope so.
The Tiwi Island works which followed did not make a particularly strong section in the catalogue, but there were a few standouts worth mentioning. Enraeld Djulabinyana Munkara’s abstractly carved and beautifully decorated double sided figure of Bima and Purukapali (Lot 16 ) sold for $24,000 hammer ($29,280 IBP). But considering that this was a fine example and these figures have achieved significantly more at auction and privately, this was clearly an astute purchase by local dealer. Another charming depiction of Bima, this one by Mani-Luki (Lot 21 ) sold for its low estimate of $8,000 hammer ($9,760 IBP).
Timothy Cook’s Kulama, 2013 (Lot 26 ), one of only two canvases in the Tiwi section and the largest of his works to appear at auction, achieved an auction record for the artist when it sold to a private Melbourne collector for $20,000 hammer ($24,400 IBP) against presale estimates of $15,000-20,000.
The Papunya section started well with a fantastic early board by Long Jack Phillipus, Hunting, 1971 (Lot 28 ) which had pre-sale estimates of $30,000-40,000. I had my eye on this lot for a client but was pipped at the post when it sold to a private buyer for $50,000 hammer ($61,000 IBP).
Disappointingly, the cover lot - a major early board by Kaapa Tjampitjinpa, Budgerigar Dreaming (Version 6), 1972 (Lot 29 ), failed to sell. This painting has been described by Geoffrey Bardon as Kaapa’s ‘masterpiece’ and Luczo bought it towards to peak of the market in 2006 for $180,000 hammer ($216,000 IBP) – an auction record for the artist at the time. It was subsequently denied an export permit after Luczo purchased and paid for it, and has been on long term loan to the Art Gallery of South Australia ever since.
This is the most disappointing aspect of the current Moveable Cultural Heritage (PMCH) Act – it effectively has the power to stymie international trade whilst not ensuring that the very works they deem too important are protected for generations to come through institutional acquisition.
Doesn’t it seem ridiculous that the very Government Act, which was originally designed to protect our cultural heritage, would have such a cannibalistic effect on the entire market, ultimately affecting the artists and their communities the most? Wouldn’t an Act that encourages international investment in local culture, whilst protecting our most important works (such as this painting) be more appropriate?
Tommy Lowry’s Woman’s Dreaming, 1972 (Lot 30 ) was also denied an export permit and failed to find a buyer on the night. Enough said.
Two works by Ronnie Tjampitjinpa brought back some momentum starting with his iconic Kadaitcha Man, 1993 (Lot 31 ) which sold to a private buyer for $18,000 hammer ($21,960 IBP) against the expected $12,000-15,000. Tingari at Watanuma, 2006 followed at lot 32 and was well bought at $42,000 hammer ($51,240 IBP) by a Melbourne collector.
The result for a relatively small work by Warlimpirringa Tjapaltjarri demonstrates the artists continued international appeal. Though not nearly as astronomical as the recent result for his untitled painting at Sotheby’s in London (which sold for £167,000 IBP), a flurry of bidding over the phones almost tripled the high estimate for Marawala, 2005, selling to an international collector for $17,000 hammer ($20,740 IBP).
One of the highlights of the sale was the result for Naata’s Nungurrayi’s The Soakage Water Site of Unkunya, West of the Pollack Hills in Western Australia, 2005 (Lot 52 ). This beautiful painting had three bidders in the room battling it out but in the end it went to the phone bidder, reportedly a Melbourne collector, for $120,000 hammer ($146,400 IBP). Last bought at the height of the market in 2007 for $180,000 hammer, this was a very good buy for what is widely regarded as the artist’s pinnacle work.
A highly unusual carved and painted ceremonial figure from the Docker River region (Lot 60 ) was well bought by a local art advisor for $18,000 hammer ($21,960 IBP). A great buy for a piece which last sold for $42,000 hammer at Sotheby’s in 2007.
The Central Arnhem Land group of figures (lots 70-77) all sold and cheaply – at or below their lower estimates, with the exception of Lipundja Gupapuyngu’s Mokuy figure (Lot 76 ) which sold for $3,200 hammer ($3,904 IBP) with estimates of $1,500-2,000. With the bulk of the Luczo collection so clearly focussed on contemporary paintings, these carvings and the Tiwi section earlier in the sale may have been overlooked by many collectors.
Two works by Bill Whiskey Tjapaltjarri helped auctioneer Scott Livesey pick up some speed as he neared the end of the sale. Rock Holes and Country Near the Olgas, 2006 (Lot 81 ) was picked up by a Sydney collector for $33,000 hammer ($40,260 IBP) and a three-panelled work with a similar title, Rock Holes Near the Olgas, 2007 (Lot 82 ) went to a Melbourne buyer for $21,000 hammer ($25,620 IBP), well beyond its conservative estimates of $5,000-7,000.
With the recent encouraging results from the Sotheby’s Aboriginal Art sale in London, expectations for sale of this impressive collection were perhaps on the high side. But the market is a force all of its own and the crowded saleroom could be forgiven for feeling that this auction felt just a bit flat. There was a feeling that buyers were holding back – with the vendor at a geographical disadvantage, unsold pieces would most likely not be heading back to the US and there may have been a number of buyers sitting on hands in the hope of making post-sale offers.
Indeed, of the 20-odd lots left unsold at the end of the auction night, only 11 are still looking for buyers at the time of writing. I have witnessed this sort of opportunistic buying with increasing frequency at auction over the last few years. The increasing popularity of selling works by Private Treaty seems to be the industry’s response.
Overall, however, the results for the Luczo Collection were solid with the unofficial total on the night just shy of $1.2million hammer ($1.5million IBP) or 79% by value and 81% by volume.
