THE SECRET WEAPON FOR SELLING PRESTIGE PROPERTY

When architect Phillip Mathieson first walked members of Third.i property group through the interiors he had designed for their Kurraba Point “super penthouse”, there were a few raised eyebrows. It wasn’t the million-dollar kit-out of furniture and decor by French luxury brand Liaigre that was disconcerting his clients — it was the art. Not the Brett Whiteley linocut of a dove, or the intricately patterned larrakitj (memorial pole) by Yolngu artist Malaluba Gumana, but the yellow mirrored work by young queer artist Tay Haggarty, which appeared to be pinioned to the wall by four white socks.

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Mathieson, whose architecture firm was charged with the interiors for all 24 residences in Third.i’s new Sydney Harbour-side development (including 21 harbourfront apartments and two sub-penthouses), was given free rein on choosing the art for the penthouses, and engaged the expertise of Artbank: a governmental body whose collection of more than 10,000 Australian artworks spans from the 1920s to now, all available to lease. In the super-penthouse, the selection includes a monumental work in black Belgian marble by the late Melbourne artist Joel Elenberg (who smashed the sales record for Australian sculpture in August 2023 with a similar work, which sold for $925,000) and a mix of abstract and figurative works by significant artists such as Bronwyn Oliver and Marion Borgelt.

Amongst these, Haggarty’s piece stands out: “It’s quite a controversial piece to have in there, given that it’s a very high end development,” says Artbank consultant Carey Corbett, who worked closely with Mathieson Architects to select the works. “I imagine the expected clientele is not so familiar with their work, being a younger artist — and possibly not the sort of artist that some of those prospective buyers would have in their homes.”

But Haggarty’s piece, titled Sun on Bare Back, provides a moment of delicious, cheeky dissonance within the elegant surroundings.

It’s the kind of memorable moment designed to cut through at the top end of the market.

As Mathieson says: “Quite often what happens when there’s a display suite for a project, or even when a project is finished, either it’s left empty or it’s furnished with rental items, and you end up with a bad reproduction poster on the wall; it’s all very generic. The Kurraba project was unusual in that the developer, I think partly because of the market that they were going after and the calibre of the location and the apartment itself, saw the value in buying furniture -— and therefore the natural extension of that was to fully provide the experience of how someone might live.

“The art is part of that.”

Lachie Gibson, founder and CEO of Melbourne developer ANGLE, agrees. His outfit prides itself on providing a holistic package of high quality location, architecture, landscape and interiors — and he sees art as a “crucially important” extension of that. ANGLE champions Australian creatives, partnering with emerging talent (including furniture designer Thomas Lentini, before he broke into the big league) and local heroes such as Dinosaur Designs, design firm Flack Studio, commercial galleries and Artbank, to create distinctive interiors for their high-end residential developments, including the multi-award-winning Fenwick, in Kew.

“We’ve had success over the yearsselling off the plan, but at the end of a project you might have a $6 million penthouse [not yet sold] and so you’re styling it for sale — and the difference between the kind of generic property stylist that the real estate companies use and partnering with someone like Artbank, is huge,” Gibson says.

Even when apartments are sold off the plan, ANGLE typically brokers relationships between buyers and interior designers, who will then do a full furniture and art fit out. “Obviously it’s awesome for the client — it elevates their space and makes it feel incredible. But also for us as a developer, the photographs of those completed spaces become almost our number one marketing tool,” Gibson says.

“It’s pretty easy to go and render something up, but having a built space that’s got amazing artwork is hugely advantageous to us.”

For their latest development, Fenhurst, ANGLE is partnering with Artbank to select hero pieces for the common areas, and with Melbourne gallery Daine Singer for apartment artworks — which will be shown in marketing renders, but available to see in the flesh (and purchase) from the developer’s Harold Street Gallery: a multi-purpose space in Camberwell that was designed by Fleur Sutherland and showcases ANGLE’s regular collaborators alongside a rotating selection of pieces from Artbank and Craft Victoria.

It’s not just developers harnessing art for a competitive edge. When Simon Hakim, CEO of creative agency Hunter, and his wife decided to put their stunning home “Rail House” in Melbourne’s Northcote on the market, they knew they needed art for the massive walls in their central living area.

“Over the years, we’d been talking about putting artwork up there, and had a built-in rail installed specifically for art [but] we couldn’t ever decide on what we liked,” he says. Then a neighbour introduced Hakim to Artbank, which has short and long-term and annual leasing plans that range from $165 to $5500 per annum.

“It was a really good way to test out the art wall — and to see massive works that we were able to display [on the rail] but couldn’t afford,” Hakim says.

In the end, they leased a series ofprints by photographer Bill Henson.

“It filled an empty void; it made a huge impact on the house. [And] we had a lot of comments about the work [from prospective buyers],” says Hakim.

Sydney property agent Georgia Cleary, of McGrath Paddington, says there’s an increased appreciation of art across the market these days, and in the prestige end of the market in particular: “People will pay tens of thousands of dollars to style their properties, and you can’t put prints into those homes.”

McGrath generally asks stylists not to put art on the walls, and instead partners with local artists and galleries to select high-end pieces. “We’ve found that the market responds really well to original works [rather than reproductions or prints],” says Cleary. “It elevates the perception of the property as ‘prestige’.”

Article originally published on Kanebridge News Australia