Robert Henry Dickerson AO was one of Australia’s most recognised modern figurative artists. A former member of the Antipodeans group, which also included Charles Blackman, Arthur Boyd, David Boyd, John Brack, John Perceval and Clifton Pugh, his work has become highly influential for generations of Australian artists. His youngest son, Sam Dickerson, runs the Dickerson Gallery, next door to Leonard Joel on Queen Street in Woollahra. Established in 1992 Dickerson Gallery deals in emerging, mid-career and major Australian artists. As Managing Director, Sam not only curates and manages the program for the gallery but also takes responsibility for continuing to promote and support the art of his father. Sam kindly speaks to us about what’s involved in managing an artist’s estate.
What have become the most important aspects in managing the estate of your father’s art and his legacy?
When my father Robert Dickerson died in 2015, he was 91 years old, and he left behind 300 plus artworks. Managing his (and any artist’s) estate is about preserving legacy and maximizing value. It requires a blend of legal, financial, and creative expertise. Having been an art dealer for 25 years before my father died, I was fortunate to have a little bit of each of these. In developing a plan for his estate, my key aims were to honour his legacy and ensure his work continues to inspire future generations.
oil on canvas, 182 x 152cm
What are some of the main responsibilities involved in managing an artist’s estate?
The most important part is understanding the estate. First and foremost, it’s important to gather a comprehensive understanding of the works and where they sit in terms of the artist’s output. This includes creating an inventory of works, cataloguing them all, including unfinished pieces, notes, and drafts, and documenting their condition. We have destroyed many unfinished (or half-finished) works as they do nothing for the legacy of the artist’s output. We always ask what would Bob do? He would burn the bad ones. Be ruthless!
In terms of legal obligations, it is important to ensure that the artist’s copyright registrations are in order. All the main auction houses are very compliant when it comes to the legality of works for sale and their copyright requirements. As a result, we always deal with the main auction houses exclusively.
In terms of a financial overview, it is important to be able to fund the work that goes into managing an estate long term. Review the financial status of the estate, including debts, royalties, and ongoing revenue streams. Legal expertise is crucial to navigating aspects such as copyright and intellectual property. This might involve renewing copyright registrations or handling infringements. Again, this is usually only an issue with the smaller operators – which is why dealing with reputable and established auction houses and dealers is so important.
Effective financial management is an underrated but vital aspect of managing the estate, as careful planning can maximize the estate’s value and ensure ongoing revenue.
What is your relationship like with secondary market sales of your father’s work, such as auction houses and other galleries?
With financial management comes a correct valuation of works and professional appraisals to determine the value of the artist’s works. Having bought and sold numerous works by many artists over the years, this was very straightforward for me. But for anyone managing a collection of 5 works (through to over 300 plus like we had), being able to access professionals (like Leonard Joel) is so important. Works go up and down in popularity and value. Not everything goes up, which surprises new art buyers!
Estate management also demands flexibility – a capacity to be fluid with the collection. Selling works that don’t ‘fit’, as well as buying works that do, is all part of the process. Even sourcing works that are personally important to me is part of the experience. Beyond the actual paintings there are other issues like keeping track of royalties from various sources, such as sales, exhibitions, and licensing, as well as permissions to reproduce artworks that also come into play. Always keep an eye on the direction of the collection.
How involved are you with institutional exhibitions of your father’s works?
Very. After consulting with the director of the National Gallery of Australia, Director Nick Mitzevich, we were fortunate enough to donate 40 paintings to the Newcastle Regional Art Museum for their permanent collection. This exhibition was called Off the Canvas, and it was as much about the story of the artist’s career as it was about the paintings. This enabled us to make sure that beyond the sales process, we got to truly honour Bob’s legacy in a way that will make the works available for future generations.
Top Image: Robert Herdman, A fern gatherer – West Highlands (1864) oil on canvas, 70.2 x 60.0 cm. National Gallery of Victoria, Melbourne. Purchased by the Commissioners of Fine Arts for Victoria, 1864.
February 2025