Leonard Joel’s “Centum” auction, a mid year celebration of 100 works by Australian artists managed to garner good interest and the occasional fierce bidding on selected lots.

Robert Owen’s “Origami Series, Untitled No 2” at Lot 8 enjoyed a comfortable escalation in bids selling at $9500 on the hammer against an estimate of $4500 to $5500; Tom Adair’s “Seidler House” at Lot 10 continued the strong bidding, and was knocked down for $10,000 on the hammer, double its high estimate of $5000; and RONE’s “Untitled (Jane Doe)” ‘street’ work inspired one pundit to bid to $23,000, against a high estimate of $15,000.

A slightly more sombre and considered mood prevailed for the next few lots, until Robert Hunter’s “Untitled No. 3” hit the rostrum as Lot 20, with some strong contention for acquisition taking the final bid to $40,000 against a high estimate of $25,000.

Other notable sales were John Kelly’s “Dobell’s Cow VI” selling on the hammer for $19,000 (Lot 25); Nicholas Harding’s nicely marketed “In the swell (Lilo girl, Swim Ring and Figures)” at Lot 29 selling for $30,000 on the hammer just above it high estimate of $28,000; Marina Strocchi’s “The Pinnacles” at Lot 64 selling for un expected $7000 against a high estimate of $3500; Jenny Watson’s erudite “Angel” at Lot 76 excitedly selling for $9000 against its high estimate of $5500; and a beautifully balanced work by Angela Brennan, aptly entitled “Yellow Painting” at Lot 97 selling at $9500 against a high estimate of $6000.

There were some disappointing albeit surprises; the cover lot for the beautifully presented catalogue to the auction, Peter Smets’ “View Point” only just garnered its hammer price of $23,000 slightly lower than its high estimate; generally always a hotly contested artist, the Adam Cullen “Toilet Training” canvas at Lot 34 also only just met its low estimate of $18,000; and the delightful Celia Perceval “White Cockies Flying Through the Gully with Wild Roses” at Lot 27 sold at $6500 on the hammer, just below its low estimate of $7000.

“Centum” is a well-placed contemporary art auction in terms of scheduling, and with this in mind, of the unsold lots, at least half should sell post-auction.

©Catherine Asquith 2021