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Lot 3: RUPERT BUNNY, THE TELEGRAM, C.1908

Est: $200,000 AUD - $300,000 AUDPassed
Deutscher and HackettMelbourne, AustraliaAugust 28, 2024

Item Overview

Description


RUPERT BUNNY
(1864 - 1947)
THE TELEGRAM, c.1908
oil on canvas
81.0 x 54.0 cm
signed lower right: Rupert C W Bunny.
bears inscription on label verso: no. 155 / The Telegram
original Paris frame

PROVENANCE
Mr and Mrs John Rowell, Melbourne
McClelland Collection, McClelland Sculpture Park and Gallery, Langwarrin, gifted by Mrs Jean Rowell and Mrs Ackland in memory of John Rowell, 24 November 1977 (label attached verso)

EXHIBITED
Société Internationale de Peinture et de Sculpture
, Galeries Georges Petit, Paris, 5 – 31 December 1908, cat. 28 (as 'Le Télégramme')
'Days and Nights in August, by Rupert Bunny
', The Baillie Gallery, London, 22 April – 12 May 1911, cat. 16
Exhibition of Pictures by Rupert Bunny,
Athenaeum Hall, Melbourne, 24 July – 14 August 1911, cat. 22
Exhibition of Pictures by Rupert Bunny,
Lawson & Little Galleries, Sydney, 22 September – 1 October 1911
Paintings by Rupert Bunny from Private Collections
, McClelland Gallery, Langwarrin, 25 November 1972 – 8 February 1973, cat. 4
All Our Own Work,
McClelland Gallery, Langwarrin, December 1977 – January 1978, cat. 14
All Our Own Work,
McClelland Gallery, Langwarrin, 8 – 31 July 1979, cat. 17

LITERATURE
'Quiet, Faithful Art. Mr Rupert Bunny's Exhibition', The Sun, Sydney, 22 September 1911, p. 8
Gérard-Austin, A.,  The Greatest Voyage: Australian Painters in the Paris Salons, 1885 – 1939, doctoral thesis, Université Paris 1 – Panthéon-Sorbonne, France, March 2014, vol. 2, pp. 17, 81, 126 (illus.)
Thomas, D., The Life and Art of Rupert Bunny, A Catalogue Raisonné in Two Volumes, Thames & Hudson, Melbourne, 2017, cat. O281, vol. II, p. 42

ESSAY
‘Paris is the one place in the world to study for the man who wants to do really good work. Nowhere else does he get the atmosphere, the sympathy, which is indispensable to the serious student of painting… It is that there only is one in touch with a thousand theories and theorists with all kinds of movements, some profound, some merely eccentric, that make up the history of modern art… Nobody can have any idea… unless they have lived in Paris, and in Paris art circles, of the intense vitality of art there.’1
 
Rupert Bunny began his art training in the early 1880s, studying alongside Julian Ashton, Bertram Mackennal, Frederick McCubbin and Emanuel Phillips Fox, at the National Gallery School in Melbourne. Like most of his Australian peers however, Bunny’s goal was international recognition and success and travelling to England with his father in 1884, after a period of study there, he arrived in Paris, the centre of the contemporary art world and the place where the most progressive art students of the day congregated to learn, work and play. He studied for several years with Jean-Paul Laurens, a highly regarded French history painter, and in 1890, received an honourable mention for Tritons, c.1890 (Art Gallery of New South Wales) at the Old Salon. This was the first time that an Australian artist had received such acknowledgement, although John Longstaff would follow in 1891 and in 1892, Arthur Streeton’s Golden Summer, Eaglemont, 1889 would be accorded the same honour.2 Critical success continued and his most important accolade came in 1904 when Après le Bain, c.1904, now in the collection of the Musée d’Orsay, Paris, was acquired from the New Salon by the French Government. A complex multi-figure composition, the painting was very well received with one critic noting that, ‘There is, in fact, something in the decorative feeling, richness of colouring, and grace of the fine work that recalls the work of the Venetian school, especially, perhaps, of Tiepolo.’3
 
Bunny met Jeanne-Héloise Morel in 1892 and John Longstaff recalled that ‘the very night they met… he fell in love with her at first sight. She was a regular Dresden china girl with a deliciously tip-tilted nose.’4 An artist, and possibly an artist’s model, Morel quickly became Bunny’s favourite model and muse, and she appears in many portraits and subject pictures from this time on. As Deborah Edwards writes, ‘Morel fulfils a function oscillating between the real, the metaphoric and the decorative.’5 She is the subject of portraits, such as the charming Portrait of the Artist’s Wife, c.1896 (National Gallery of Victoria) – so titled, even though they did not marry until 1902 – where she is pictured wearing a striking black and white striped dress and with her pet terrier. She also appears in paintings such as An idyll, 1901 (Art Gallery of South Australia) and Endormies, c.1904 (National Gallery of Victoria), imaginary dreamlike scenarios in which beautiful women represent symbolic figures. 
 
The Telegram
, painted around 1908, clearly demonstrates Bunny’s delight in the decorative, from details of the interior (the brocade of the curtain pulled back to reveal the floral-patterned wallpaper behind, for example) to the figures’ elaborate Edwardian-era clothing. It also demonstrates his interest in the play of light and indeed, his ability to represent it in paint, from the dappled sunlight shining through the window to the muted reflection of the standing figure in the mirror to the left of the scene. But The Telegram also adopts a narrative focus which propels it beyond the artist’s (and viewers’) pleasure in these pictorial details. Two women are depicted in an intimate interior, the standing figure – wearing a feathered hat and with gloves in hand, seemingly ready to go out – watches over as a young woman (modelled on Morel), seated to her right, pens a telegram message. The image prompts inevitable questions – what is the relationship between the two women; what events preceded this moment; is the content of the telegram good news or bad? – and the viewer is instantly engaged in the potential drama of the scene.
 
With its emphasis on beauty, elegance and decoration, The Telegram is typical of what the critic Roger Marx described as the work, ‘of a refined colourist, fond of unusual nuances and subtle harmonies emphasised for its own sake the charm of a gay and lively imagination… Mr Bunny… remains… the tender interpreter of his own vision. Each one of his works retains a tasteful charm never lacking in distinction.’6
 
1. Rupert Bunny, cited in ‘Art in Paris, Mr Bunny and the Post-Impressionists’, Sydney Morning Hearld, 19 September 1911, p. 9, in Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné, vol. I, Thames and Hudson, Port Melbourne, 2017, p. 42
2. See Thomas, ibid., p. 53
3. Franz, H., cited in Studio, London, 1904, vol. XXXII, p.14, in Thomas, ibid., p. 123
4. John Longstaff, cited in Thomas, ibid., p. 79
5. Edwards, D., Rupert Bunny, artist in Paris, Art Gallery of New South Wales, Sydney, 2009, p. 73
6. Marx, R., ‘Exposition Rupert Bunny’, La Chronique des Arts et de la Curiosité, Supplément de la Gazette des Beaux-Arts, Paris, 4 March 1905, pp. 67 – 68, cited in Thomas, ibid., p. 128
 
KIRSTY GRANT

Artist or Maker

Payment & Shipping

Payment

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Shipping

Deutscher and Hackett's Registrar is happy to assist with advice about preferred carriers, if required. Email: [email protected]

Auction Details

Important Australian + International Fine Art

by
Deutscher and Hackett
August 28, 2024, 07:00 PM AEST

105 Commercial Road South Yarra, Melbourne, VIC, 3141, AU

Terms

Buyer's Premium

22.73%

Bidding Increments

From:To:Increment:
$0$999$50
$1,000$1,999$100
$2,000$3,199$200
$3,200$3,799$300
$3,800$4,199$200
$4,200$4,799$300
$4,800$4,999$200
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$31,999$2,000
$32,000$37,999$3,000
$38,000$41,999$2,000
$42,000$47,999$3,000
$48,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000$319,999$20,000
$320,000$379,999$30,000
$380,000$419,999$20,000
$420,000$479,999$30,000
$480,000$499,999$20,000
$500,000$999,999$50,000
$1,000,000+$100,000

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DEFINITIONS

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CONDITIONS AT AUCTION

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GOODS AND SERVICES TAX

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If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

POST-SALE CONDITIONS

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Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer using the form and/or trust account details provided at the back of this catalogue. In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Once funds have cleared, the proceeds of the sale less the buyer's Premium, GST and any commission or costs charged as agreed will be remitted to the vendor within thirty-five days of the date of sale provided payment has been received in full. Funds will be held in an interest bearing account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to any interest earned during this period. Application for a cultural heritage export licence or any other licence in no way affects the buyer's obligation to make payment or collection within the periods specified in sections 10 and 13a.
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b. collection by the buyer.
The buyer assumes risk for the property in all respects from this date and neither Deutscher and Hackett nor the vendor will be liable for loss or damage occurring after the payment due date. The buyer is encouraged to make arrangements to ensure comprehensive cover is maintained from this date. Title in the lot does not pass to the buyer, even if the lot is released to the buyer, until the buyer has paid all sums owing to Deutscher and Hackett. If a buyer makes a claim against Deutscher and Hackett for damage or loss after sale, the buyer's premium and the final bid price shall be payable notwithstanding.
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prospective buyers and sellers guide

1. PRIOR TO AUCTION

CATALOGUE SUBSCRIPTIONS
Catalogues can be obtained at Deutscher and Hackett offices or by online subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information go to www.deutscherandhackett.com).

PRE-SALE ESTIMATES
The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for
prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer's premium or other charges where applicable.

RESERVES
The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS
In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend.

SYMBOL KEY
? Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part.
In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price.
? Used to indicate lots for sale without a reserve.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS
All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST'S NAMES
All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist's working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.
Terms used in this catalogue have the meanings ascribed to them below:
a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work
by the artist.
b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part.
c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist's period.
d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist.
e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist.
f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist.
g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist.
h. "signed" / "dated" in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist.
i. "bears signature" / "bears date" in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

PROVENANCE
Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non-disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality.

2. THE AUCTION
Auctions are open to the public and are free to attend. Deutscher and Hackett may exclude any person at any time in its discretion.
REGISTRATION
Bidders must register to bid prior to the commencement of an auction. Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion.
CONDUCT OF AUCTION
Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve.
ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS
As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.
RESERVE
Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor.

BIDDING INCREMENTS
Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion):
$500 - 1,000 by $50
$1,000 - 2,000 by $100
$2,000 - 3,000 by $200
$3,000 - 5,000 by $200 / $500 / $800
$5,000 - 10,000 by $500
$10,000 - 20,000 by $1,000
$20,000 - 30,000 by $2,000
$30,000 - 50,000 by $2,000 / $5,000 / $8,000
$50,000 - 100,000 by $5,000
$100,000 - 200,000 by $10,000
$200,000 - 300,000 by $20,000
$300,000 - 500,000 by $20,000 / $50,000 / $80,000
$500,000 - 1,000,000 by $50,000
$1,000,000+ by $100,000

SUCCESSFUL BIDS
The fall of the auctioneer's hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS
Where a lot is unsold, the auctioneer will announce that the lot is "bought in", "passed", "withdrawn" or "returned to owner".

3. AFTER THE AUCTION

PAYMENTS
Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 1.65% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

PURCHASE PRICE AND BUYER'S PREMIUM
The purchase price will be the sum of the final bid price (including any GST) plus a buyer's premium set at 22.727% (plus GST) of the final bid price. An Invaluable service fee of 5% of the final bid price will also be charged. If an auction is promoted as a "BP Parity" auction, there will be no Invaluable service fee payable. Buyers may be liable for other charges reasonably incurred once ownership has passed.
GOODS AND SERVICES TAX
Auctions are conducted on a GST inclusive basis (where GST applies). GST is payable on some lots. A list of those lots is set out in the catalogue. Buyers are required to pay a 10% G.S.T which sum is:
a. included in the final bid prices where buying from a GST registered vendor; and
b. included in buyer's premiums and any additional fees charged by Deutscher and Hackett.
If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION
Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

LOSS OR DAMAGE
Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING
Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties.

EXPORT
Prospective bidders are advised to enquire about export licences -- including endangered species licences and cultural heritage permits, where relevant -- prior to bidding at auction. Telephone the Maritime and Movable Heritage Unit on 02 6274 1810 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale.

COPYRIGHT
The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

Shipping Terms

Deutscher and Hackett's Registrar is happy to assist with advice about preferred carriers, if required. Email: [email protected]