The drawing is still highly expressive with not the slightest hint of self-aggrandisement sometimes seen in self-portraits. Instead, Larwill’s funky childlike outlines are consistent with his theme of celebrating childhood.

There is a stylistic consistency moving though these new etchings back to, and from, Larwill’s paintings. Each image is freely outlined, filled in bright primary or secondary colours - oranges, yellows and blues. White is used as the negative space across which these enjoyable mind’s eye ruminations are played out.

Larwill’s position in Australian art history is assured, along with Mark Schaller and others who formed an artist’s co-operative twenty years ago or so, called ROAR. It’s now generally acknowledged as the sequel to the Melbourne Figurative Expressionist group of painters that gravitated around John and Sunday Reid at Heide (Noland, Hester, Boyd, Tucker, Perceval et al) in the 1950s. Initially, there were pictorial asides to the Scandinavian group CoBra – Appel, Corneille and Alechinski. At the time there were also similar angry outcries against “curator art” and an identification with Outsider Art, as they themselves were genuine outsiders. But this was short lived, and in Larwill’s case his obsession with Aboriginal art began to filter into his work thereby making it indelibly Australia.

The ROAR is much quieter now. This is no longer a young angry artist searching for a style and recognition, but an established talented painter and printmaker sure of his vision, and sharing his domestics with an appreciative audience.

Jeff Makin
November 2005

Media View

David Larwill - Showcasing the best of Australian art with an eye to artistic merit and market value

Ten years ago a Larwill work on paper sold for $500 and a large oil for about $4000. Today, works on paper start at $4500 and large oil such as Dead Heading the Aggies (2004, acrylic on linen, 152cmx122cm) sell for about $30,000.

Michael Reid, The Art Oracle - Sydney Morning Herald Spectrum Magazine, November 19-20 2005.
Click here for full article

The Colours of Money

In the last five years art investment has outperformed both the property and share markets. In the first of a new series on alternate investment opportunities, Wealth Creator takes a look at art as a wealth creation vehicle.

The Australian art market is going through dramatic growth. As stated on www.artequity.com.au the turnover of Australian art auction 2004 totaled $86.3 million, a rise of $60.2 million since 1994. Of this figure, $12 million was Aboriginal art, six times more than traded in 1997.

Dominique Bambino, Wealth Creator (magazine), November / December 2005.
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My Collection - Jascha Zimmerman

"Norman Linsay’s artworks are so eagerly sought after that only the seriously wealthy can be a collector of his original works. However, the longstanding trade in limited-edition reproductions of his etchings allows people... to become a serious collector"

Peter Vincent, The Sydney Morning Herald, Money section, November 7-11, 2005.
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Photography Market -
Contemporary photography: the boom of American photography

“In the mid-1990s, paintings were the only medium in the art market that investors considered of any speculative interest. However, the combination of increasing demand and artistic renewal has made other artistic media - such as photography – equally attractive from a financial point of view."

Today, in November 2005, [contemporary photography] prices are three times higher than in 1995, which is the equivalent of an average annual progression of 11.9% over the period.

Artprice.com, November 2005

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How to Invest in Art

"Investing doesn’t have to be all about boring financial deals; it can also be about colour, beauty and relaxation."

"Talk to agencies that specialize in finding good investment artworks. One such Australian company, Art Equity, prides itself on finding investment pieces for “ordianary art lovers”.

Chris Sheedy , Voyeur (Virgin Blue Inflight Magazine), December 2005,
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When making money is an art form

"So you own property, shares and interest-bearing securities and you're still told to diversify. The answer could be art and antiques which, unlike other investments, you can actually display in your home and make your friends jealous."

David Tribe, Sun Herald, Investor Section, 20 November 2005,
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Top Performers

These Australian artists are currently amongst the markets most
sought after.  Art Equity has sold works by all the artists listed and for some, is a representative gallery in NSW.

• Tim Storrier
  Tim Storrier's rise as one of the strongest investment artists in Australia continues unabated with the major work, Evening Fire (Nine Mile Plain) selling at Sotheby's November 28th auction for $200,250 (incl. buyers premium) well above the estimate of $90 – 120K.  This result that reflects the market appetite for 'flaming' works by Storrier.

• Barbara Weir

  A record auction price was achieved for Barbara Weir for her painting Grass Seed Dreaming, 2003 at Lawson Menzies Sydney auction on November 9.   The synthetic polymer paint on Belgian linen sold for $31,200 (incl. buyers premium).  It was expected to fetch $20,000-22,000.   Weir's previous highest auction price was $9,400 in 2002.

• John Olsen
  In the November issue of Art Insight, we commented on the phenomenal collectibility of anything "Olsen" and the first edition release of Teeming with Life - his complete graphics 1957 - 2005.   The book has been described by Stuart Purves, Director of Australian Galleries as "so important because not only does it contain Olsen's magical imagery, but every single print is made with the utmost of integrity.  (The Australian Art Market Report, Issue 18 Summer 2005/6). 
• Mark Schaller
  Mark Schaller is a contemporary of David Larwill and fellow founder of the ROAR Studios in the early 1980's.  He is regarded as a strong mid-career artist with a solid secondary market and is included in numerous public and private collections including the National Gallery of Australia. His latest work is a superb example of the vigorous and expressionistic style he is renowned for. The etching was co-published by Art Equity and leading printmaker, Port Jackson Press and, on release, will be exclusively available to Art Equity clients.  The etching features in our December Premium Portfolio.
• George Ward Tjungurrayi
  George Ward began painting for the Papunya Tula artists around 1976 and has risen to become one of the most prestigious of all Aboriginal artists.  He won the Wynne Prize in 2004, is included in numerous collections here and overseas and is developing a significant secondary market. Art Equity will be showcasing George's painting in our opening exhibition for 2006.  Their Country will also feature the works of Ronnie Tjampitjinpa and WillyTjungurrayi, all senior artists from the Western Desert who started the Aboriginal Art movement at Papunya Tula in the 1970's. 

• David Boyd
  A stunning $50,190 (incl. buyers premium) was achieved for David Boyds' oil on board titled The Offering (The Trial Series) at Christies Melbourne auction on November 22. The estimate for this work was $5,000-7,000.

• Arthur Boyd

  Arthur Boyd also well exceeded Christie's estimate of $5,000 - $7,000 at its November 22 auction for his enamel on ceramic tile titled David and Saul.  The work sold for $35,850.  At Sotheby's November 28th auction, Boyd's Rock Face, Tidal River & White Trees with an estimate of $25 – 35K went for $115,062 (incl. buyers premium).

MARKET WATCH

The November auctions have taken the total Australian art auction sales for 2005 to $86.7 million - already toppling last years total of $86.3 million.  We still have Deutscher-Menzies December 7 auction to look forward to. 

Sales of Aboriginal works at auction are also tracking well against the 2004 record total of $11,742,000.  The current tally from (exclusively) Aboriginal art auctions is only fractionally behind the 2004 total.  Add in sales of Indigenous works at general Australian art auctions and the upcoming Deutscher-Menzies auction and the 2004 total is sure to be beaten.

2005 has seen less attention demanded from the biggest names such as Emily Kame Kngwarreye and Clifford Possum Tjapaltjarri.  According to Roger Dedman, "by comparison, many younger Indigenous artists are being enthusiastically supported, and traditional paintings by less familiar names are bringing good prices. (The Australian Art Market Report, Issue 18 Summer 2005/6). 

2005 has seen the consolidation of the standing of artists John Olsen, Tim Storrier, and Margret Olley from a critical and cultural perspective. Their status from a market perspective is undoubtedly blue chip, underlined by the tremendous appetite from collectors and investors alike.

the Australian Art Market from A UK perspective ...

"My view as an Independent Art Adviser is that we encourage our clients to look at the possibilities in Australian Art.  It has a uniqueness and vibrancy all of its own.  Apart from the intrinsic geographical problems, the market seems sound, with significant room for growth and sustainable over a significant period.

The European Art Market needs greater capacity and I believe that the Australian art scene is gathering momentum here. This is not an overnight phenomenon but has been championed by serious critics and dealers alike in The UK for the last 10-15 years successfully.

I do not think it will be too long before there are some regular major auctions in the UK operating in this arena."

Spencer C Ewen

Seymour's Art Advisors and Valuers
LONDON

SMART PORTFOLIO

The December Premium Portfolio offers a selection of outstanding original prints.  The investor has the opportunity to own works by three of Australia's hottest artists for less than one painting would command by any one of them. The portfolio offers a return of 7.5% over a period of four years.  Given the performance of these artists over recent years, the opportunity for capital appreciation during the rental period, additional to rental income, is strong.  (Prints have the same potential to increase in value as a painting by the same artist.)

ART EQUITY RENTAL PORTFOLIOS enable you to earn income from the art you own.  You purchase an art portfolio starting from around $10,000 which we then rent to the corporate sector.  You will earn income of between 6.5% to 9 per cent per annum from your investment as well as the potential capital appreciation of the artwork over time.