In late January, on the eve of a major storm, the second annual Vose|Barridoff American Fine Art Auction, held at the College Club of Boston, was on its way to achieving $1,145,088 in total sales and seeing a remarkable 91 percent sell through rate.
“Online participation was roughly three times our typical level,” shares Barridoff Auctions owner Jeremy Fogg. “While in-room attendance was lighter than usual due to the impending storm, those who were present were highly engaged and bidding actively across many lots. Phone and online bidding were both very strong, with participation largely from across the U.S. and some international interest as well. There were several moments of lively, competitive bidding, especially later in the sale and notably around contemporary works, which added a great deal of energy.”
Daniel Ridgway Knight (1839-1924), On the Terrace at Rolleboise, Paris. Oil on canvas, 32¼ x 26 in. Estimate: $80/120,000 SOLD: $104,960
Amid a curated selection of works by celebrated American artists that included Harriet Frishmuth, Leon Kroll, Willard Metcalf and Sally Michel Avery, the top lot of the day was Daniel Ridgway Knight’s oil On the Terrace at Rolleboise, Paris, which sold for $104,960 just shy of its $120,000 high estimate. Daniel Chester French’s bronze Seated Lincoln came even closer to its high estimate when it achieved $78,000. Also of note was an oil by Sally Michel Avery from 1964 that went for $33,280, more than five times its high estimate of $7,000, and equally impressive performances for Gari Melchers’ National Golf Links (est. $4/6,000) which sold for $24,320; and Walter Launt Palmer’s Venice (est. $8/12,000) which fetched $21,760.
Daniel Chester French (1850-1931), Seated Lincoln. Bronze, 10 x 65⁄8 x 7¼ in. Estimate: $60/80,000 SOLD: $78,080
Sally Michel Avery (1902-2003), Two Fowl, 1964. Oil on canvas, 17½ x 13½ in. Estimate: $5/7,000 SOLD: $33,280
“A number of lots outperformed expectations,” says Fogg. “Works by Charles Herbert Woodbury performed very strongly, which was exciting given the continued appreciation for his work. We also saw impressive results for artists like Sally Michel, whose work is increasingly being evaluated on its own merits, rather than solely in relation to her husband, Milton Avery. There were a few softer results as well, including a work by Wolf Kahn, though we view that as an outlier given the historically strong performance for that artist.
“In terms of the stronger results, including works such as the Daniel Ridgway Knight and Gari Melchers,” Fogg continues, “I think it comes down to a combination of quality, freshness to the market and buyer confidence. We are careful with our estimates, as overly aggressive estimates can suppress bidding, whereas well considered estimates tend to encourage participation and competition. In this case, there was strong private collector interest, and while institutional buyers are often more discreet, we did see engagement at that level as well.”
Walter Launt Palmer (1854-1932), Venice, 1890. Oil on canvas, 21¼ x 28¼ in. Estimate: $8/12,000 SOLD: $21,760
For Fogg, the outcome of the sale is an indicator of a steady market for historic American art, with particular strength in select areas of the 19th and 20th century category. “Strong results for works like the Knight, along with continued interest in artists such as Melchers and Woodbury, suggest renewed confidence when quality examples come to market,” he says. “Buyers are increasingly educated and selective, but when material is fresh and well positioned, there is real depth of demand. We are also continuing to see increased attention and growth in the market for women artists, which is an important and encouraging trend.” —
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