By
Margaretta wa Gacheru (posted 8 March 2019)
Circle Art
Gallery’s sixth Art Auction East Africa in the ballroom of the Radisson Blu was
a jaw-dropping event, filled with multiple bidding wars and a slew of bold
buyers assured that money was no object when their hearts were set on owning a
particular painting, print, etching or sculpture.
The result
was that this auction was a record-breaking spectacle, with sales totally
nearly USD 300,000 or Ksh30 million. Last year’s sales of Sh21 million were
also impressive at the time as were the total sales in 2017 of Sh19 million.
But making so substantial a gain between this year and last, and of course
between now and the first art auction that was held in 2013, must send a
message to both sincere lovers of African art and skeptics who don’t believe
that East African art is already making it on the global art market map.
The results
of last Monday night’s art auction has to be a powerful indicator that not only
is appreciation of our contemporary art growing substantially. It should also
send a signal that investing in East African art is a wise choice to make. For
most art connoisseurs understand that good art invariably accrues in value over
time. So right now might be a good time to start researching regional artists
and also investing in their work while it’s still undervalued.
One has to
congratulate Danda Jaroljmek, the co-owner of Circle Art with Arvind Vohara,
and her team for assembling the largest lot of artworks ever. (There were 59.)
But it was more than quantity that made sales shoot so high this year. The
quality of the works that Danda curated also played a major role in whipping up
enthusiasm early in the auction. Starting off with two very special Kenya-based
artists, Ancent Soi and Fitsum Berhe Woldelibanos, was wise since both
paintings are among the artists’ best. The fact that Soi’s sold for KSh763,100
and Fitsum’s for a little less at Sh610,480, paved the way for other
prospective buyers to follow suit. And so they did.
For
instance, a number of paintings went for more than a million shillings. The
late Geoffrey Mukasa’s ‘Artist’s Home’ actually sold for almost Sh2 million, or
Sh1,995,800. His other piece in the show, ‘Under Palm Leaf’ went for
substantially less. But still, the buyer was prepared to pay nearly a million
shillings (Sh986,160) for it even though the still life was on paper while ‘The
Artist’s Home’ was on canvas. He or she was probably aware that as much as they
loved Mukasa’s art, his paintings are bound to appreciate in value over time.
The Kenyan
artist whose two works also sold at vastly different prices was the late Samwel
Wanjau, Neither of his sculptures sold for a million, but Wanjau’s ‘Woman
Reading’ went for almost Sh850,000 (Sh845,280). Yet his ‘Untitled’ buxom ‘Lady
smoking’ sold for less than half a million (Sh455,640). But again, the
difference is understandable, both because of size and subject matter. The
woman reading looks regal unlike the reclining nude which is smaller and
looking less refined.
Nonetheless,
there were other works that sold for over a million, such as Samson ‘Xenson
Ssenkaaba’s ‘Matoke Farmer’ and the late Robin Anderson’s ‘Untitled’ (Women’s
Market), both of which went for almost Sh1.5 million (Sh1,408,800).
All of these
mind-boggling sales were finalized efficiently at the hand and gavel of Kenyan
auctioneer, Chilson Wamoja. But they came as a result of breath-taking bidding
wars which Wamoja handled masterfully. This was the first year that Circle
invited a local auctioneer to take charge, rather than one imported from abroad.
But clearly Wajoma was the man for the job, having worked for years with
Antique Auctions, one of the oldest auction houses in Kenya.
Mr Wajoma
kept his cool even when Edward Said Tingatinga’s two whimsical ‘enamel paint on
board’ works came up for bids. He and the audience had already been through
several bidding war. But they were skirmishes compared to the bidding ‘battle’
that went on for Tingatinga’s ‘Untitled’ (Elephant eating from the Marula
Tree). Those were the jaw-dropping moments that made us feel we were witnessing
African art history in the making since the final bid got up to almost Sh5
million. Then after VAT and the ‘buyer’s premium’, the late Tanzanian artist’s
Elephant sold for well over Sh5.5 million (Sh5,635,200).
It was an
unbelievable experience to watch, particularly as we had just seen the first of
two Tingatinga paintings go for almost nine times less (Sh645,700) than its
partner painting. His ‘Untitled’ (Hunter with bird) was actually slightly
larger than his Elephant work. But here was a case where the buyer had his
heart set on obtaining that Tingatinga and apparently, for them, money was not
an issue.
Several
other buyers said they felt similarly. For instance, Maria Amelina was
delighted to have won the bid for Mohamed Otaybi’s ‘Flying Woman’. “I simply
couldn’t pass up what looked to me like an Islamic Marc Chagall,” she told Business
Daily right after the auction, when a number of shoppers gravitated towards
their prized purchase of the night.
Another one
of them was Pamela Dale, an American working with UNEP who’d persevered in
bidding on Charles Sekano’s ‘Blue Woman Sitting on the Beach.’ “I’d seen it in
the catalogue, but when I saw it in person I loved it,” she said. “I’m not sure
where I’ll hang it since my walls are almost full, but I will definitely find a
place,” she added.
Among the
artists on hand whose works had sold well at the auction, there was a general
feeling of elation. Tabitha wa Thuku, Camille Wekesa, Yassir Ali and Sane Wadu
were all delighted both for having their art selected for the auction and
because theirs sold well. Michael Musyoka said he was humbled by the
experience. Meanwhile, the woman who won the bid on his “Offerings of the Same
Things” said she’d bid on her friend’s behalf, someone she said had ‘his heart
set’ on owning that painting.
This was the
second year that Nigerian artists were represented at the auction but the first
time one of the five West African painters in the show attended the exhibition.
Chief Muraina Oyelami (whose painting ‘Three Dreadlocks’ sold for more than a
quarter million at Sh258,280.) spoke on behalf of the five when he said, “We
feel it’s a great honor to have been in the auction, and also to see how far
Kenyan art has come. It’s clearly serving as a beacon light of artistic
excellence for the whole region,” added Muraina who is one of the founders of
the renowned Oshogbo School of Art. Accompanying him was Chief Nike Seven Seven
Okundaye whose paintings sold well at last year’s auction. She’s also the gallerist
responsible for bringing the Nigerian art to Kenya. She added that it was
gratifying to see that all the Nigerian art sold well this year. Her former
husband Twins Seven Seven’s ‘Hunter’s Dream’ fetched more than half a million
(SH587,000), while Bruce Onobrakpeya’s screen print on paper entitled ‘Red
Bird’ went for almost Sh400,000 (Sh399,160).
But by far,
what was the most exhilarating aspect of this year’s auction (apart from being
bowled over by the multi-million shilling sale of Tingatinga’s art) was seeing
how well the Kenyan art sold, particularly as compared with the works of
artists from Ugandan, Tanzania, Sudan, Ethiopia, South Africa and Nigeria. For
while money is not the single determining factor in appraising the value of any
artwork, it plays a part in enhancing an artist’s name.
For
instance, it matters when Dickens Otieno’s aluminum tapestry and Ancent Soi’s
painting both sold for more than three-quarters of a million shillings
(Sh751,360 and Sh763,100 respectively). And it matters when Edward Njeng’a’s
terracotta sculpture (SH448,120) and the paintings of Sane Wadu, Richard
Kimathi and Robin Anderson all went for well over Sh400,000.
Practically
all the Kenyan artists contributed substantially to making this year’s Circle
Art Auction the best one yet both in monetary terms and theatrically speaking.
It’s one arts event in Kenya that will be remembered for quite some time.
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