#02. Study: Margaret Robinson.

[eueclid]

Margaret Robinson, a summary.

Margaret Caroline Robinson grew up as an only child, adopted by a lesbian couple living in the small town of Mills, Virginia. Growing up, she was the perfect student — she had the grades, she participated in band and sports, and was a well - rounded student with a close friend group. The summer after senior year, when she was seventeen years old, almost eighteen, her high school class got together for one last hoorah before college started. Margie decided to go because why not — she would be going out of town for school after being accepted to Virginia Tech, aiming to get her undergrad degree in biochemistry before going on to get her master's degree and doctorate, but that night, everything changed.

It was a drunken accident that led her to run off in the woods, a silly game that her and her friends played — though, by some stroke of dumb luck, Margie ended up separated from her friends. At first, she didn't care — but then it got darker, and she sobered up, and she became terrified. And then, a growl, and a pair of glowing eyes. She tried to run, but she couldn't run fast enough. And then, searing pain on her leg. She fell, and then she doesn't remember what happened after that. She remembers waking up alone, having slept on her back, with no teeth marks of any kind on her leg. Perhaps it was a drunken dream. That had to be it.

She turned for the first time on the night of her eighteenth birthday, a month after she was bitten. She transformed in those same woods where she'd been attacked, drawn there by some unknown force. The force was the one who bit her, as she'd learn, a man named Lucas who had the same condition she did — lycanthropy, moon sickness, whatever other names it had. She was a werewolf, and he called her there to remind her of it. This would be the last time she ever saw him.

Margie doesn't remember much from her first transformation, just that she awoke in the woods two days later after a search and rescue party had been sent out to find her. Concerned for her safety, she was kept from attending at Virginia Tech, at least for the semester, and kept at home.

The next month, on the full moon, she transformed again. This time was agonizingly painful, and she remembered every single detail. This time, however, she was able to make it home the next day, blaming her not being in her bed on staying out late with new friends. It was this transformation that let her accept what she had become, though she didn't know how to handle it. She didn't have anyone to learn from, so she took to researching. Margie spent every day of her semester off in the library, reading as much as she could about werewolves and their legends.

After a couple months, she was able to return to Virginia Tech, but she still struggled with her new affliction. With time, she was able to get a system down, one that involved her driving out into the mountains where she could go through each painful transformation alone.

After two years of school, being a werewolf began to take its toll on her mental health. She dropped out of college and returned to Mills, where she works as a grocery store clerk. She longs for the life she once had in her reach, hoping one day she can be cured of what she considers to be a terrible disease. Any visitors who pass through may hear about a wolf, a little larger than one should be, roaming the woods on full moons. If you ask Margie what she thinks about the legend, she thinks it's complete and utter bullshit  — just don't ask her to hang out during the full moon. She won't show.

[thatveganwhiterose]

Oh boy. Too bad for you I’ve only been doing this shit for over a decade and have already seen info like this and how it has been debunked.

But apparently you haven’t.

So let’s start from the beginning.

Veganism, as its core and conception and coining, is literally “to reduce harm as far as is practical and possible”. https://www.vegansociety.com/go-vegan/definition-veganism

(Since I’m on mobile I can’t do fancy AHREF’s with linking.)

Now what does this mean realistically. It means, on an individual level, doing what you can to reduce harm. If that means buying the most expensive af vegan meats and buying $200 shirts handmade in the USA by suburban white moms, do it.

If that means reducing your animal product intake, purchasing from secondhand stores and trying to get cruelty free toothpaste whenever your paycheck always, awesome.

This does not negate very real obstacles. Such as but not limited to: food desserts, income, time, resources, support, physical and/or mental disability, access, medications, etc.

Also idk what you have seen in which you think vegans advocate for indigenous populations to stop their practices, as vegans and vegan groups tend to target you know. Big corporations like animal ag.

I’m going to guess a lot of this ignorance is 1) ignorance (which legit means “not knowing”), and 2) the lack of actually like, looking into a side that isn’t your own.

PETA isn’t the only group that exists out there. Food Empowerment Project, Chilis on Wheels, Food not Bombs, Black Vegans Rock, Black Veg Fest, Shamayim Animal Advocacy

Are only a handful of vegan groups run by minority vegans or are aimed at assisting those who are underprivileged. There are too many individual persons and groups to name.

Oh yeah and weirdly indigenous vegans and movements exist. Who would have thought. https://www.livekindly.co/indigenous-culture-has-strong-ties-with-veganism-says-mikmaw-scholar/

https://humanrightsareanimalrights.com/2014/12/22/margaret-robinson-indigenous-veganism-feminist-natives-do-eat-tofu/

Any person who tells you that any one movement can bring you ultimate happiness, or miracle cures, or miracle weight loss, or is 100% cruelty free, is a fool.

But here is what is proven: veganism is BETTER for the planet than what we currently have. Leagues better. So much so that it is encouraged by the UN.

https://www.theguardian.com/environment/2010/jun/02/un-report-meat-free-diet

There are decades of studies and evidence and photos and research and video to back up how veganism is better for humans, animals and the planet.

Did I also mention how fucking horrible it is to work in a slaughterhouse or factory farm? https://foodispower.org/human-labor-slavery/factory-farm-workers/

Did I also mention how much damage animal ag does, and how much land it takes over in other counties to feed and house livestock? https://wellbeingintl.org/animal-agriculture-impact/

https://abcnews.go.com/US/story?id=94255&page=1

https://www.aspca.org/news/breaking-news-major-federal-victory-wild-horses-and-burros

http://www.devipress.com/animal_ag.html

https://m.worldanimalfoundation.org/articles/article/8949042/186425.htm

And also yes. You did suggest you knew more about my culture than I did. You told me fervently that it is “a faith”.

Judaism is a faith. And a culture. And a people. And an ethnicity. And spiritual. And a way of living. And a belief system.

Veganism is a way of life and a belief system. It is a radical political movement to reduce harm.

If I wasn’t Jewish, I would probably not be vegan or come to it far later in life bc of the principles and things I learned from being Jewish.

So yeah. You very much told me you somehow know better. And as someone who is an Atheist as well, you told me it was “a faith” when it is more than that.

So please answer me, bc you didn’t before. Are you going to be this upset when a Jewish friend refuses your pork dish?

on one hand I disagree with the sentiment behind veganism, because I think it lacks perspective, but on the other hand I want to be able to cook for my vegan roommate, and I am a very curious and motivated person when it comes to food, so everytime I think of something that I am certain cannot be veganized I feel the need to find a damn way

french macarons can be vegan, and that is borderline infuriating

[bhfineart]

Sotheby’s Fine Art Auction 20 November 2019

Sotheby's present 79 lots in their spring 2019 auction, with some truly outstanding offerings. We are particularly captivated by lot 26, "Woman in a Salon", William Dobell's portrait of Helena Rubinstein, founder of the eponymous cosmetics empire. What an extraordinary woman and life - and what a striking painting by one of our most incisive portraitists. Dobell created several portraits of this formidable self-made entrepreneur,  illustrated in a separate brochure entirely dedicated to this lot.

Remember the offering at Sotheby's in August this year of  "The Dead Landlord", and you can see the breadth of Dobell's humanity.

Starting the sale off however are two iconic photographs by Carol Jerrems, who captured the 1970s like no other Australian photographer; Jerrems' life was tragically cut short in 1980 at the age of just 31.

We also like very much the assembly of several outstanding Australian impressionist paintings by Tom Roberts, Arthur Streeton, Rupert Bunny and John Russell.

Howard Arkley is still very much in favour, and present with not one, but two stunning interiors, and both offered at auction for the first time since they were purchased in the early 1990s.

If you have a chance, go and view the paintings in Melbourne or Sydney:

6 - 10 November, 14-16 Collins Street, Melbourne

14 - 20 November, 30 Queen Street, Woollahra

The auction takes place on 20 November, 6.30 pm, at the Intercontinental Hotel in Sydney.

You can also see all artworks online at Sotheby's website.

We would be delighted to assist you with pre-purchase advice and due diligence reports on any lots to provide you with as much intelligence as possible prior to the auction and represent you on the night with experienced strategic bidding.

Contact us on 02 9977 7764 or info@bhfineart.com if you would like to know more how we can assist you.

And Dave's Faves for Sotheby's are (some with added links):

[caption id="attachment_6003" align="alignleft" width="300"] Lot 1 - Carol Jerrems, Vale Street, 1975, 20.1 x 30.4 cm, est. $30,000-50,000. Vale Carol Jerrems - her photos however live on[/caption]

[caption id="attachment_6004" align="alignleft" width="197"] Lot 2 - Juliet Holding Vale Street, 1976, 30.5 x 20 cm, est. $20,000-30,000. Don't hold back![/caption]

[caption id="attachment_6005" align="alignleft" width="300"] Lot 14 - Hans Heysen, Ambleside 1924-25, 21.7 x 40.5 cm, est. $15,000-20,000. The Master of Light[/caption]

[caption id="attachment_6006" align="alignleft" width="300"] Lot 15 - Arthur Streeton, The Landing Place (Hawkesbury River), 1896, 30.3 x 35.7 cm, est. $35,000-45,000. This could be the day to land your Streeton[/caption]

[caption id="attachment_6007" align="alignleft" width="300"] Lot 16 - Tom Roberts, She-Oak and Sunlight, 1889, 30.5 x 30 cm, est. $220,000-280,000. "The perfect expression of one time and place" - Tom Roberts, July 1890[/caption]

[caption id="attachment_6008" align="alignleft" width="300"] Lot 17 - Arthur Streeton, View from Mt Toorong (Study for Australia Felix), 1907, 18.5 x 24.2 cm, est. $40,000-60,000. Plein Air Panorama[/caption]

[caption id="attachment_6009" align="alignleft" width="300"] Lot 18 - Tom Roberts, The Two Roads to Monbulk, 1924, 44.6 x 58.5 cm, est. $160,000-190,000. I can see the Forest for the Trees[/caption]

[caption id="attachment_6038" align="alignleft" width="294"] Lot 20 - Arthur Streeton, Garden Green, 1940, 76.3 x 76.3 cm, est. $150,000-200,000. How green is my wheel barrow?[/caption]

[caption id="attachment_6010" align="alignleft" width="300"] Lot 24 - Jeffrey Smart, Approach to a City III, 1968, 66 x 81 cm, est. $650,000-850,000. We're on a road to somewhere[/caption]

[caption id="attachment_6011" align="alignleft" width="300"] Lot 26 - William Dobell, Woman in a Salon (Helena Rubinstein), 1960, 40.5 x 51 cm, est. $400,000-600,000. "There are no ugly women, only lazy ones" - Helena Rubinstein[/caption]

[caption id="attachment_6012" align="alignleft" width="233"] Lot 33 - Howard Arkley, Neapolitan Delight 1993, 175.2 x 134.7 cm, est. $800,000-1,000,000. Colour eruption[/caption]

[caption id="attachment_6013" align="alignleft" width="229"] Lot 35 - Howard Arkley, Plain and Fancy, 1993, 173 x 135 cm, est. $600,000-800,000. Fancy that[/caption]

[caption id="attachment_6014" align="alignleft" width="300"] Lot 41 - William Robinson, Across the Gorge Landscape, 1988, 85.5 x 92.8 cm, est. $60,000-80,000. Gorgeous Gorge[/caption]

[caption id="attachment_6015" align="alignleft" width="249"] Lot 43 - Fred Williams, Red Landscape, 1966, 86 x 71 cm, est. $100,000-150,000. Now let's not argue about the colour, please[/caption]

[caption id="attachment_6016" align="alignleft" width="300"] Lot 45 - Margaret Olley, Melbourne Hotel, South Brisbane, 1948, 63 x 76.5 cm, est. $60,000-80,000. Living it up at the Hotel Melbourne[/caption]

[caption id="attachment_6017" align="alignleft" width="300"] Lot 48 - Lloyd Rees, City Skyline, 1955, 35.7 x 44.8 cm, est. $30,000-40,000. Spires to inspire[/caption]

[caption id="attachment_6018" align="alignleft" width="239"] Lot 58 - Herbert Badham, Port Said 1954, 38 x 30.5 cm, est. $10,000-15,000. He said, she said, Port Said[/caption]

[caption id="attachment_6019" align="alignleft" width="233"] Lot 60 - Weaver Hawkins, Rola 1933, 91.5 x 70.4 cm, est. $35,000-45,000. I've been everywhere man, Ballarat, Melbourne, Hamilton, Castlemaine, Geelong, Horsham, Ararat, Mildura, Sale, Warrnambool, Newcastle, Brisbane, Sydney (with apologies to Lucky Starr)[/caption]

[caption id="attachment_6021" align="alignleft" width="216"] Lot 65 - Brett Whiteley, Spooked by Egypt, 1984, 70 x 50.2 cm, est. $25,000-35,000. The Eyes have it[/caption]

[caption id="attachment_6022" align="alignleft" width="300"] Lot 69 - Robert Klippel, Untitled, 1992, 92.5 x 122 cm, est. $10,000-15,000. Colour me badd[/caption]

    Sotheby’s Fine Art Auction 20 November 2019 is available on: https://www.bhfineart.com

[daniel-saad-blog]

COMS 360 Final Project

Women in Media By Daniel Saad

Many would agree that some strides have been made in how the media portrays women in film, television and magazines, and that the last few decades have also seen a growth in the presence and influence of women in media behind the scenes. Nevertheless, female stereotypes continue to thrive in the media we consume every day.

“Women professionals and athletes continue to be under-represented in news coverage, and are often stereotypically portrayed when they are included.”

https://getfitwithkj.wordpress.com/2015/02/05/sports-illustrated-waybehindthegame/

Although there has been a steady increase in the number of women professionals over the past 20 years, most mainstream press coverage continues to rely on men as experts in the fields of business, politics and economics. Women in the news are more likely to be featured in stories about accidents, natural disasters, or domestic violence than in stories about their professional abilities or expertise.

Women in politics are similarly sidelined. Canadian journalist Jenn Goddu studied newspaper and magazine coverage of three women’s lobby groups over a 15-year period. She discovered that journalists tend to focus on the domestic aspects of the politically active woman’s life (such as “details about the high heels stashed in her bag, her habit of napping in the early evening, and her lack of concern about whether or not she is considered ladylike”) rather than her position on the issues.

Women and Sports

Women athletes are also given short shrift in the media. Margaret Carlisle Duncan and Michael Messner studied sports coverage on three network affiliates in Los Angeles. They report that only nine per cent of airtime was devoted to women’s sports, in contrast to the 88 per cent devoted to male athletes. Female athletes fared even worse on ESPN’s national sports show Sports Center, where they occupied just over two per cent of airtime.

Media images of women in sports are also very different from the familiar pictures of male athletes in action. Female athletes are increasingly photographed in what Professor Pat Griffin calls “hyper-sexualized poses.” Griffin notes, “When it was once enough to feminize women athletes, now it is necessary to sexualize them for men. Instead of hearing, ‘I am a woman, hear me roar,’ we are hearing ‘I am hetero-sexy, watch me strip.’” 

(Ronda Rousey- Professional MMA Fighter)

Beauty Before Brains

http://viralsurgery.com/greta-van-susteren-plastic-surgery/

When well-respected news-show host Greta Van Susteren moved from CNN to Fox in early 2002, she not only had a makeover; she surgically altered her face to appear younger and more “beautiful.” When her new show, On the Record, premiered, her hair was perfectly coiffed and she sat behind a table so viewers could see her short skirt and legs.

Robin Gerber notes that, “Before her surgery, Van Susteren had been an increasingly visible beacon projecting the hope that women had made progress. You believed that she had made it in television because she was so darn smart, clearly the best legal analyst on the air.” However, her surgery symbolizes what many analysts have argued for decades: that the way a woman looks is far more important than what she has to say.

Gerber concludes that Van Susteren “has become a painful reminder of women’s inequality… Being smart, smarter, smartest isn’t enough. By trying to become just another pretty face, Van Susteren instead became another cultural casualty.”

‘They have ads of how you should dress and what you should look like and this and that, and then they say, ‘but respect people for what they choose to be like.’ Okay, so which do we do first?”

Kelsey, 16, quoted in Girl Talk’

Despite the progress that has been made in showing strong female characters on TV or in books, there is a long way to go, both in the quantity of media representations of woman and in their quality.

In terms of quantity, the media is still a long way from reflecting reality: women represent 49 per cent of humanity while female characters make up only 32 per cent of the main characters on TV, as shown by a broad survey done in 2008 by Doctor Maya Götz of the International Central Institute for Youth and Educational Television. This study measured the representation of male and female characters in nearly twenty thousand children’s programs in 24 different countries. The media industry justifies this disparity by arguing that it is easier for girls than boys to identify with characters of the opposite sex. Götz argues that this argument reverses cause and effect, saying that it is the lack of female characters on TV is what leads to the higher popularity of male characters.

http://www.motherjones.com/media/2012/11/geena-davis-institute-women-girls-are-stereotyped-sexualized-hollywood

Eroticization Of Young Girls

In addition to being under-represented, women are equally misrepresented: the hypersexualization of very young girls, most notably in fashion and advertising, is a disturbing trend given that these stereotypes make up most of the representations of themselves which girls and women see in the media. The pressures on girls are exacerbated by the media’s increasing tendency to portray very young girls in sexual ways. The fashion industry is a major driver for this trend, commonly presenting 12 and 13-year-old girls as if they are women. Camera angles (where the model is often looking up, presumably at a taller man), averted eyes, wounded facial expressions, and vulnerable poses mimic the visual images common in pornographic media.

https://www.motherhoodthetruth.com/french-ban-beauty-pageants/

“Since the 1960s, feminists have argued that ‘it matters who makes it.’ When it comes to the mass media, ‘who makes it’ continues to be men.”

Women working in the media have made some inroads. In 2011, the International Women’s Media Foundation reported that around the world, only a third of journalists are women. Studies conducted by Canadian researchers Gertrude Robinson and Armande Saint-Jean have found that 28 per cent of newspaper editors are female. And according to San Diego State University communications professor Martha Lauzen, 18 percent of the directors, executive producers, writers, cinematographers and editors on the 250 top-grossing films of 2011 were women.

Although women now have a significant presence in both print and TV newsrooms, they still face a distinct “glass ceiling: while women make up 50 percent or more of writers, producers and editors, they make up only 40 percent of top-level management and only a quarter are found at the highest levels of authority.

https://sites.psu.edu/civicissuesspring2016/category/uncategorized/

Decision Making Power Matters

Studies show that a difference can be made when women hold positions of power. In 2000, women editors and journalists took over the newsroom for one day at a newspaper in Wichita Falls, Texas. For the day’s top story a choice had to be made between a crime-stopper’s story about a peeping tom and an item about local women fighting for equal rights. When the women opted for the latter story, a heated argument erupted. Journalist Laurence Pantin reports that “the women finally won, but only because they held the key positions on that day. All other times, the peeping Tom and stories like it would have prevailed.”

Author Kathi Maio reminds us that the march to equality for women in media has had strides forward and setbacks. She writes: “Our story has never been one of steady progress. For example, more women were directing movies in the 1920s (when the industry was new and more open) than in the 1950s. And there were more positive, empowered roles for women in the early ’30s than in the early ’70s.”

As women continue to struggle for equality in the media, Lauzen’s research shows that the biggest difference is made by the women who actually work in the industry. Behind the scenes, they can have a definite impact on the ways women are portrayed on the screen and in print. Lauzen concludes, “When women have more powerful roles in the making of a movie or TV show, we know that we also get more powerful female characters on-screen, women who are more real and more multi-dimensional.”

https://youknowmojo.wordpress.com/2011/09/11/women-empowerment-why-do-we-need-it/

Work Cited

http://mediasmarts.ca/gender-representation/women-and-girls/media-portrayals-girls-and-women-introduction

http://mediasmarts.ca/gender-representation/women-and-girls/media-coverage-women-and-womens-issues

http://mediasmarts.ca/gender-representation/women-and-girls/women-working-media

[bhfineart]

Dave’s Faves for Sotheby’s Auction on 27 August 2019

Among the 87 lots offered at Sotheby's sale of Important Australian Art on 27 August, there are several multiple offerings from a number Australian masters and regulars at auction -  including not surprisingly Arthur Boyd, Hans Heysen,  Sidney Nolan, Arthur Streeton, Norman Lindsay and William Dobell.

More surprising perhaps is the appearance of four works by Cressida Campbell. But on reflection, given recent auction results demonstrating her status as the current darling of the contemporary art market, perhaps not so much.

There are some wonderful gems in this sale, and David has put them together for our "Dave's Faves" below.

You can view the paintings in person to get a true view:

- in Melbourne at 14-16 Collins Street, from 13 - 18 August

- in Sydney at 30 Queen Street, from 22 - 27 August.

The entire auction catalogue is of course available online at Sotheby's.

The auction is held on Tuesday, 27 August 2019, 6.30 pm at the Hotel Intercontinental in Sydney.

For independent advice and intelligent due diligence prior to purchasing, contact us if one (or more) artwork has caught your eye.

We will be attending the auction on the night, representing clients discreetly, and can therefore offer you a complete professional auction service prior, during and after the sale. Simply email us at info@bhfineart.com or phone 02 9977 7764 for more information.

So Dave's Faves for the Sotheby's Auction on 27 August in Sydney are:

[caption id="attachment_5791" align="alignleft" width="300"] Lot 1 - Brett Whiteley, Blue Painting 1960, 64.5 x 65.5 cm, est. $55,000-70,000. "Kind of Blue" (with a nod to Miles Davis)[/caption]

[caption id="attachment_5792" align="alignleft" width="158"] Lot 5 - John Olsen, Spring (2002), 191 x 100 cm, est. $60,000-80,000. Put a "Spring" in your Step[/caption]

[caption id="attachment_5793" align="alignleft" width="258"] Lot 6 - Fred Williams, You-Yangs Landscape (1966), 66 x 57 cm, est. $55,000-65,000. Yes, You-Yang![/caption]

[caption id="attachment_5795" align="alignleft" width="234"] Lot 13 - Howard Arkley, Rococo Rhythm 1992, 173.5 x 138.8 cm, est. $800,000-1,000,000. This is no time for a Captain Snooze[/caption]

[caption id="attachment_5794" align="alignleft" width="164"] Lot 7 - Cressida Campbell, Interior with Cat 2010, 92 x 50 cm, est. $100,000-120,000. Cat Got The Cream[/caption]

[caption id="attachment_5796" align="alignleft" width="247"] Lot 15 - Margaret Preston, Still Life 1917, 64.3 x 53.7 cm, est. $100,000-150,000. Oranges are not the only fruit[/caption]

[caption id="attachment_5797" align="alignleft" width="300"] Lot 20 - Arthur Streeton, Towong Gap (1930), 63.9 x 76.3 cm, est. $100,000-150,000. Is that a Model or a Model-T?[/caption]

[caption id="attachment_5798" align="alignleft" width="300"] Lot 22 - Ethel Carrick, The Market 1919, 75 x 100 cm, est. $1,200,000-1,600,000. Well, are you in the market or aren't you?[/caption]

[caption id="attachment_5799" align="alignleft" width="300"] Lot 29 - Eugene von Guerard, Lake Wakatipu, with Mount Earnslaw, New Zealand (1877), 34.7 x 62.1 cm, est. $100,000-150,000. Eugene at his Peak[/caption]

[caption id="attachment_5800" align="alignleft" width="242"] Lot 45 - Sidney Nolan, Kelly Study VI, 1962, 152.7 x 122 cm, est. $220,000-280,000. You might need to put up a fight for this one[/caption]

[caption id="attachment_5801" align="alignleft" width="300"] Lot 47 - Tim Storrier, Incendiary Line, 137 x 290 cm, est. $120,000-160,000. All Fired Up[/caption]

[caption id="attachment_5802" align="alignleft" width="231"] Lot 48 - Arthur Boyd, Shoalhaven with Cockatoo, 38.5 x 30.5 cm, est. $15,000-20,000. Cock-a-hoop Cockatoo[/caption]

[caption id="attachment_5803" align="alignleft" width="300"] Lot 53 - Arthur Boyd, Irrigation Lake, Wimmera (1980), 91.5 x 122 cm, est. $100,000-140,000. Back a Winner with Wimmera[/caption]

[caption id="attachment_5804" align="alignleft" width="300"] Lot 58 - Margaret Preston, Wheelflower (1929), 44 x 44.3 cm, est. $35,000-45,000. Not Wallflower - Wallpower![/caption]

[caption id="attachment_5805" align="alignleft" width="185"] Lot 59 - Cressida Campbell, Still Life with LIlies and Ranunculus (2006), 107 x 66.7 cm, est. $50,000-70,000. If you seek the Unique[/caption]

[caption id="attachment_5806" align="alignleft" width="300"] Lot 61 - Nora Heysen, A Study 1931, 47.5 x 53 cm, est. $30,000-40,000. Best Thing since Sliced Bread[/caption]

[caption id="attachment_5807" align="alignleft" width="300"] Lot 62 - Hans Heysen, Approaching Storm with Bushfire Haze 1913, 55 x 73 cm, est. $35,000-45,000. Bushies escape the Bushfire[/caption]

[caption id="attachment_5808" align="alignleft" width="300"] Lot 63 - Hans Heysen, White Gums. A Study, 30.2 x 38 cm, est. $2,000-3,000. Monochrome Magic for not much Money[/caption]

[caption id="attachment_5809" align="alignleft" width="226"] Lot 70 - Russell Drysdale, Man with Ram (1941), 30.3 x 22.7 cm, est. $25,000-35,000. Once owned by Dr. Joseph Brown[/caption]

[caption id="attachment_5810" align="alignleft" width="296"] Lot 71 - Sidney Nolan, Headland 1964, 122 x 122 cm, est. $60,000-80,000. One small Step for Sidney[/caption]

[caption id="attachment_5811" align="alignleft" width="300"] Lot 76 - Lin Onus, Guyi Buypuru (Fish and River Rock) (1995), 91 x 121.5 cm, est. $150,000-180,000. How Many "Likes" for Him?[/caption]

[caption id="attachment_5812" align="alignleft" width="300"] Lot 78 - William Robinson, Tea with Rock Cakes 2014, 30.7 x 35.7 cm, est. $25,000-35,000. Rockin' Robinson[/caption]

[caption id="attachment_5813" align="alignleft" width="300"] Lot 81 - Dale Frank, His Talent Was Like Being Stuck Behind a Long Vehicle 2012, 200 x 260 cm, est. $30,000-40,000. I rather like being stuck behind this long vehicle[/caption]

  The post Dave’s Faves for Sotheby’s Auction on 27 August 2019 was originally seen on: https://www.bhfineart.com

[bhfineart]

Dave’s Faves for Sotheby’s Auction 21 November 2017

The end of the year brings a bounty for the astute art collector: the next 4 weeks will be packed with fine art auctions.

Bonhams, Deutscher + Hackett, Menzies and Sotheby's combined alone will offer more than $ 30 million worth of art in this end of year round.

To date in 2017, $92 million dollars worth of art have sold at auction. This means that the Australian art auction market is well on track to beat last years' $106.5 million for the second best turn-over since 2007, when total sales at auction were $175.6 million.

More offerings and works new to market would have helped this growth, with collectors prepared to spend bigger for the best works on offer.

Sotheby's last auction of the year presents 82 carefully selected lots, with rare colonial, impressionist, modernist and modern treasures among them.

View them personally in Melbourne from 8 to 12 November, at 41 Exhibition Street.

In Sydney, you can inspect the works from 16 to 21 November at 30 and 34 Queen Street, Woollahra.

Online, the catalogue is available at Sotheby's Australia website.

The auction his held on 21 November 2017, 6.30 pm, at the Intercontinental Hotel in Sydney.

Contact us at Banziger Hulme for independent advice and due diligence prior to purchase, bidding on the night and after-purchase management - phone us on 02 9977 7764 or email info@bhfineart.com

Dave's Faves from Sotheby's are:

[caption id="attachment_4368" align="alignleft" width="300"] Lot 3, Adrian Feint, Flowers with Sunset: Panel for "Orion", 1946, est. $15,000-20,000. Feint's Masterpiece[/caption]

[caption id="attachment_4369" align="alignleft" width="251"] Lot 9, Fred Williams, After Bushfire (1969), est. $380,000-420,000. There she grows again![/caption]

[caption id="attachment_4370" align="alignleft" width="227"] Lot 10, Albert Tucker, Image of Modern Evil 29 1946, est. $800,000-1,000,000. The Evil Eyes have it![/caption]

[caption id="attachment_4371" align="alignleft" width="243"] Lot 11, William Dobell, Study for Margaret Olley (1948), est. $180,000-220,000. Olley Lives[/caption]

[caption id="attachment_4372" align="alignleft" width="300"] Lot 14, Brett Whiteley, Two Giraffes No. 2 1964-85, est. $90,000-120,000. Stop rubbernecking and buy it![/caption]

[caption id="attachment_4373" align="alignleft" width="300"] Lot 17, Brett Whiteley, Wategos Beach, Holiday Suite 9 1989, est. $60,000-80,000. Where seagulls dare[/caption]

[caption id="attachment_4374" align="alignleft" width="300"] Lot 18, Brett Whiteley, Wategos Beach, Holiday Suite 7 (1989), est. $50,000-70,000. We can all draw something from this[/caption]

[caption id="attachment_4375" align="alignleft" width="300"] Lot 19, William Robinson, Sunset and Rising Moon 1993, est. $60,000-80,000. I can fly![/caption]

[caption id="attachment_4376" align="alignleft" width="230"] Lot 20, Brett Whiteley, Shao 1979, est. $850,000-950,000. Shao steals the show[/caption]

[caption id="attachment_4377" align="alignleft" width="219"] Lot 23, John Brack, Study for Standing Nude 1970, est. $30,000-40,000. Brack Beauty[/caption]

[caption id="attachment_4378" align="alignleft" width="243"] Lot 32, John Perceval, Warburton Ranges Aboriginal Child (1958), est. $45,000-65,000. Precious Perceval Pottery[/caption]

[caption id="attachment_4379" align="alignleft" width="300"] Lot 33, Ian Fairweather, Portrait (1939), est. $80,000-100,000. A Fairweather Friend[/caption]

[caption id="attachment_4380" align="alignleft" width="230"] Lot 34, Sidney Nolan, Carcase 1953, est. $150,000-180,000. Dedication through Drought and Death[/caption]

[caption id="attachment_4381" align="alignleft" width="300"] Lot 35, Fred Williams, Summer Snow at Perisher (1976), est. $500,000-700,000. Go Snow[/caption]

[caption id="attachment_4382" align="alignleft" width="300"] Lot 38, Clarice Beckett, Bathing Boxes (1934), est. $35,000-45,000. Minimal subliminal[/caption]

[caption id="attachment_4383" align="alignleft" width="300"] Lot 53, John Brack, The Return of the Prodigal Son 1953, est. $600,000-800,000. The Iconic[/caption]

[caption id="attachment_4384" align="alignleft" width="205"] Lot 67, Cressida Campbell, Gold Fish (1984), est. $10,000-15,000. Don't be Koi[/caption]

[schema type="event" evtype="VisualArtsEvent" url="https://www.sothebysaustralia.com.au/catalogue/AU0819" name="Sotheby's Fine Art Auction" description="Sotheby's Fine Art Auction in Sydney on 21 November 2017 at the Intercontinental Hotel" sdate="2017-11-21" stime="06:30 pm" edate="2017-11-21" duration="02:00" street="117 Macquarie Street" city="Sydney" state="NSW" country="AU" ]

Dave’s Faves for Sotheby’s Auction 21 November 2017 was first published on: http://bhfineart.com