Page 1855 - Week 05 - Thursday, 11 May 2017
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|
Artwork Title |
Artist |
Location of Artwork |
Cost* |
Current Value |
Condition |
|
A Short Walk |
Matthew Calvert |
Weston |
$200,000 |
$242,000 |
Surface – Fair Structure - Good |
|
Ability to imagine |
Peter Tilley |
Belconnen |
$10,000 |
$70,000 |
Good |
|
Ark in the Ark and Beyond |
Wataru Hamasaka |
Belconnen |
$32,000 |
$45,000 |
Good |
|
Dancers on a Lakefront |
Kon Dimopoulos |
Belconnen |
$142,211 |
$85,000 |
Good |
|
dna |
Jonathan Leahey |
Yarralumla |
$60,000 |
$140,000 |
Good |
|
Gravity Circle |
Haruyuki Uchida |
Canberra City |
$59,091 |
$90,000 |
Good |
|
Icarus series |
Jan Brown |
Canberra City |
$233,013 |
$450,000 |
Good |
|
In the Stream + Breezing in Canberra |
Kozo Nishino |
Weston Creek |
$680,000 |
$600,000 |
Good |
|
Life Boat/Thuyen |
Nerine Martini |
Canberra City |
$30,000 |
$45,000 |
Good |
|
Longitude |
Matthew Hardin |
Canberra City |
$164,000 |
$202,000 |
Good |
|
Microscopia |
Warren Langley |
Garran |
$167,347 |
$220,000 |
Good |
|
Moth Ascending the Capital |
Alex Knox |
Kambah |
$421,154 |
$355,000 |
Good |
|
On The Staircase |
Keld Moseholm |
Braddon |
$74,000 |
$130,000 |
Good |
|
Owl |
Bruce Armstrong |
Belconnen |
$400,000 |
$450,000 |
Good |
|
Oyster |
Geoffrey Bartlett |
Canberra City |
$13,636 |
$27,500 |
Good |
|
Relic |
Rick Amor |
Canberra City |
$109,091 |
$200,000 |
Good |
|
Toku |
Shinki Kato |
Yarralumla |
$200,000 |
$500,000 |
Good |
|
Two Legged Marsupial |
Geoffrey Bartlett |
Canberra City |
$18,182 |
$32,000 |
Good |
|
Wide Brown Land |
Marcus Tatton with Futago |
Weston Creek |
$233,140 |
$160,000 |
Good |
|
Windstone, a trial of a cloud |
Koichi Ishino |
Canberra City |
$40,000 |
$76,500 |
Good |
|
Woden Flood Memorial |
Ian Marr |
Curtin |
$23,594 |
$120,000 |
Good |
|
Young Eagle |
Qian Kian Hua |
Canberra City |
$12,000 |
$27,500 |
Good |
|
*artist commission or acquisition fees based on available records. Some artwork costs not accessible within the time frame allowed for answering the question as records stored offsite and retrieval required. | |||||
(2) It is not possible to provide the towns or cities in which each artist actually lived when the works were acquired, as the artists were not required to provide their residential address. The contracts signed by artists contain a variety of addresses including post
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