There are many ways to engage with art. Among them is to interact with living artists, visit galleries, go to art fairs and shows, take classes, explore museums and just look at the art in our communities. Then there is the secondary market, which these days is primarily auctions, to some degree vintage fairs and shows and even estate sales.
Once in a while we find crossover. Museums hold exhibitions for living artists, galleries hold post mortem shows and occasionally we find the work of living artists in auctions. Such was the case for works by several Oregon artists at O’Gallerie in Portland recently.
Works of art find their way into auctions in a number of ways. Even beyond the well-known three D’s that fuel many auctions, appraisers and law firms (debt, divorce and death), there are corporations who sell collections and family members who inherit items and just don’t have the same affinity for them as the original purchaser.
News headlines are often filled with record auction prices set for works by artists, but, priced out of the starting market at galleries, they can also be a great place for the beginning collector to get a start. It does take a lot of watching, a good eye and some sense of not getting carried away.
Jef Gunn’s encaustic piece has an interesting title, inspired by Villa-Lobos’ Bachianas Brasileiras, particularly No. 5, which features a small ensemble of eight cellists and a soprano.
The diptych painting displays a similar rock-like motif on both sides. Gunn also invokes a Zen aesthetic by applying freeform brushstrokes reminiscent of the skeletal structure of Chinese calligraphy.
A closer look reveals Gunn’s affinity for the element of chance, ingrained in both the process and material of encaustic painting. Through layers of fused paint—and sometimes by overheating the surface to the point of collapse—he expresses a deeper interest in discovering the idea of a landscape rather than producing the smooth, translucent surface typically associated with encaustic work.
Jef Gunn (Oregon/Washington, b.1955) mixed media diptych (encaustic, sumi ink, paper, and imitation gold leaf on wood panel), “Cantilena, Dansa,” inspired by the musical composition Bachianas Brasileiras #5 by Heitor Villa-Lobos. Signed lower right and dated 2002, titled verso, label attached verso from The Laura Russo Gallery, Portland, OR, 32.75″ x 66″. The painting was sold for $275 (quite the bargain for a lucky buyer!).
John Opie is a prolific painter whose work frequently appears at O’Gallerie. His website includes recent work featuring events from our time including Notre Dame on fire. One of three works in the current auction, Singing the Blues is undated on the artist’s website. Music and jazz figures are a common theme for the artist as is pop culture, domestic scenes and sports. The approach is always direct and the subject often light hearted and full of color. Opie’s work provides the confidence we need to relish the moment, continue on in our pursuits and remember to not take ourselves or the events of the day too seriously.
John Mart Opie (Oregon/Pennsylvania, b.1936) acrylic on board, “Singing the Blues,” figure on a stage. Signed lower left, signed again verso, 12.5″ x 18.” The painting did not sell during the auction.
Sometimes when you search online for “Oregon artists,” Lucinda’s name appears at the top. If you’ve been fortunate enough to meet her, she’s just as energetic and her personality is as engaging as her artwork. While she is known for wildlife and landscapes of the PNW including owls and volcanos, all branded with her own bold colors and energetic brush strokes, her earlier works are more abstract in decorative structure and juicy surface. Dated 1999, this work at auction has an other-worldly theme and seems to be about motion and maybe the interplay between excitement and activity and despair. By this time, Parker had switched to a drywall mudder that was ten inches wide and two-and-half inches deep. When she applied the mudder with loaded paint across the canvas with big arm movement, clear edges delineated forms with smooth gliding surfaces, as seen in this painting.
Lucinda Parker (Oregon, b.1942) acrylic on canvas, “Lunar Fragments.” Signed and titled verso, dated 1999, label attached verso from The Laura Russo Gallery, Portland, OR, 44″ x 26″. The painting was sold for $2,250 plus premium.
Cover: This work by Carl Morris (1911-1993) sold for $11,000.
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