The Journal of Australian Ceramics Vol 52 No 1 April 2013
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Collectio n<br />
Dame Doreen Blumhardt. Floor Vase<br />
h.65cm; S2500; photo: Jo Whelan OSW<br />
who, while he sells well, only gains<br />
prices equivalent to or less than<br />
what his pieces sold for in the late<br />
'80s. Where are the newer artists<br />
to replace these old Masters, to keep sales vital and to attract new collectors7 Does this relatively wellorganised<br />
market that is a world leader in the way ceramics are presented to the public (we note the<br />
first dedicated ceramic auction <strong>of</strong> substance in the USA, organised by Garth Clark, only took place in<br />
<strong>No</strong>vember 2011), simply reflect an historic interest in an arena that faded badly in the primary market<br />
in the late '80s? We will see. <strong>The</strong>re is renewed vigor in the ceramics field here and internationally, but<br />
this seems embedded in the general art market and not so much concerned with 'a ceramics field' to be<br />
seen separately.<br />
<strong>The</strong> current position really seems to be that big names, led by Castle, do well, but, increasingly, many<br />
do not. Ultimately this is market-driven and not dictated by the auction houses. Internet sales on auction<br />
sites seem strong by volume but not on price and I am doubtful <strong>of</strong> a significant future for sales in this<br />
arena for such a tactile art-form.<br />
Simon Manchester is a Wellington-based independent Applied Arts consultant specialising in<br />
ceramics as well as craft objects.<br />
118 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL <strong>2013</strong>
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