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Auction Description for Deutscher and Hackett: Important Fine and Aboriginal Art

Important Fine and Aboriginal Art (136 Lots)

by Deutscher and Hackett


136 lots | 135 with images

November 30, 2016

Live Auction

Sydney, Australia

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JUSTIN O'’BRIEN, (1917 - 1996), BOY IN COSTUME, c.1949, oil on canvas on composition board

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Description: JUSTIN O'’BRIEN, (1917 - 1996), BOY IN COSTUME, c.1949, oil on canvas on composition board SIGNED: signed upper right: O’'BRIEN DIMENSIONS: 94.0 x 43.0 cm PROVENANCE: The Johnstone Gallery, Brisbane (label attached verso) Richard and Joan Crebbin Collection, Sydney, acquired from the above, June 1970 Mrs Joan Crebbin, Sydney EXHIBITED: Merioola and after, S. H. Ervin Gallery, Sydney, 12 July - 17 August 1986; Newcastle Region Art Gallery, Newcastle, 28 August - 5 October 1986; Geelong Art Gallery, Geelong, 16 October - 16 November 1986, cat. 71LITERATURE: France, C., Merioola and after, S.H. Ervin Gallery, National Trust, Sydney, 1986, p. 26 RELATED WORK:Boy in Costume, c.1948, oil on canvas, 91.8 x 46.2cm, in the collection of the National Gallery of VictoriaESSAY: With a haughty expression seamlessly in line with the rigid formal composition of his portrait painted by Justin O’'Brien, the teenage boy within Boy in Costume, c.1949 appears dignified beyond his years. While he was best known for his considered and anachronic paintings of Catholic iconography, Justin O'’Brien'’s most powerful and sensitive works were the portraits he painted of young men, many of whom he taught at a private school in Sydney from 1947 - 1968. In the late 1940s, the young artist had recently returned to Sydney, leaving behind the trauma he had suffered as a prisoner of war in Tolin, Poland during World War Two. He settled in Woollahra, in a large house Merioola, along with many other artists and creatives, including Donald Friend, Michael Kmit, Margaret Olley and Russell Drysdale. Grouped under the label of Sydney Charm School, used disparagingly by the critic Robert Hughes in 1966, the artists in the Merioola group undertook collaborative and interdisciplinary projects. They found common ground in the creation of art for art’s sake, focussing primarily on the decorative, poetic and spiritual possibilities of art rather than the social realism that was being practiced in Melbourne during the same period. Boy in Costume is an outstanding example of O'’Brien’'s portraiture of this period, featuring stylistic devices for which he was renowned: a rich tapestry of colour and carefully observed texture, his idiosyncratic pseudo-byzantine stylisation of facial features and flattened treatment of the pictorial plane. This portrait has an extraordinarily rich and worked surface, characterised by etched lines into thick layers of paint in the wallpaper and shirtsleeves and scraped upper layers of paint in the boy’s ruff and velvet leggings. These formal elements have a greater complexity than similar portraits of the same period, notably Boy in Costume, c.1948 held in the collection of the National Gallery of Victoria - a portrait of the same sitter against the same wallpaper of powdered tones. O’Brien’s use of rich, saturated colour and elongated forms in the 1940s led critics to draw parallels with Byzantine art, postulating that he may have come across this style during his military service in occupied Greece. Christine France, in her 1987 monograph Justin O'’Brien: Image and Icon, suggests instead that the artist’s stylisation had much more in common with the School of Paris, particularly Modigliani and Picasso.1 Boy in Costume supports this hypothesis, continuing the legacy of Picasso’s melancholic harlequin and acrobat paintings of his famous Rose Period (1901 - 1905), themselves informed by the work of the French 18th century court painter, Antoine Watteau.2 The classical three-quarter profile of this boy in costume projects an evasiveness and emotional distance consistent with the deception inherent in the dramatic figure of the Harlequin, borrowed from 16th century itinerant entertainers of the Italian Commedia dell'’Arte. This portrait can be read as a tender study of teenagehood - the complexity of identity and search for a place in the world - the boy is portrayed to the world as both a performer and a multi-faceted individual. 1. France, C., Justin O'’Brien. Image and Icon, Craftsman House, Sydney, 1987, p. 15 2. Carmean, E. A. Jnr., Picasso - The Saltimbanques, National Gallery of Art, Washington, 1980, p. 19LUCIE REEVES-SMITH

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ERIC WILSON, (1911 - 1946), BY THE SEINE, PARIS, c.1942 - 44, oil on composition board

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Description: ERIC WILSON, (1911 - 1946), BY THE SEINE, PARIS, c.1942 - 44, oil on composition board SIGNED: signed lower left: Eric Wilson bears inscription verso: ombak - Name - Eric Wilson / By the Seine Paris / 6 gns DIMENSIONS: 69.0 x 54.0 cm PROVENANCE: Richard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Eric Wilson, Newcastle Region Art Gallery, New South Wales, 29 July - 28 August 1983, cat. 34 (label attached verso) and travelling: Banyule Art Gallery, Victoria, 16 September - 16 October 1983; Queensland Art Gallery, Brisbane, 4 November - 4 December 1983 (illus. in exhibition catalogue, p. 43) LITERATURE: Eric Wilson, exhibition catalogue, Newcastle Region Art Gallery, New South Wales, 1983, cat. 34 (illus.), p. 43RELATED WORK:By the Seine, c.1941 - 45, pen and ink and wash, 78.1 x 11.8 cm (sheet), inscribed in pencil on reverse ‘By the Seine / sketch for Painting / in Collection of / Sir Keith Murdoch’, National Gallery of Victoria, MelbourneESSAY: The bridges of Paris with their noble arches spanning the River Seine were a favourite subject for Eric Wilson, rivalled only by his streetscapes. By the Seine, Paris, 1939, c.1941 - 43 in a private collection competes with Rue de la Bonne, Montmarte, 1939, c.1941 - 42 in the collection of the Art Gallery of New South Wales, trumped only by the brilliant Scott Street, Glasgow, c.1942 secured by the National Gallery of Victoria, Melbourne through the Felton Bequest.1 Wilson won the New South Wales Travelling Art Scholarship in 1937, moving to England then France to study. He travelled and sketched in Belgium, the Netherlands and Italy, where he absorbed, among other things, that sense of touch and form so celebrated in the work of the Italian masters of the Quattrocento.2 The outbreak of the Second World War caused Wilson to return to Australia early, turning to his sketchbooks for numerous European subjects over the following years. Above all it was the scenes of Paris that inspired him most. '‘It was not the large-scale vistas of the master-planned metropolis that mattered most to him [wrote fellow artist Douglas Dundas], but the more intimate curves and corners of narrow streets, and the bridges and tree-lined quays of the Seine.'’3 Our painting, By the Seine, Paris, c.1942 - 1944 is an example, magnificently composed and constructed, having been painted in Australia from detailed pen and pencil sketches recorded en plein air some years before. The painting follows the ink sketch very closely, the only significant addition being that of three fishermen. (The drawing is in the National Gallery of Victoria, previously being in the collection of Sir Keith Murdoch, who, in 1945, commissioned Wilson to paint a series of landscape on his property at Wantabadgery, on the Murrumbidgee River in New South Wales.) By the Seine, Paris features a characteristic high view point looking down to the river'’s embankment, seen in a number of related paintings, especially Seine, Paris, 1939 - 42 (once in the collection of Mrs Una Fraser) and Pont Neuf, c.1945 (Eric Wilson catalogue, op. cit., cat. 60, illus.). Fishermen were often added, as in Fisherman on the Seine (Leonard Joel, 7 November 1973, lot 254), giving the scenes a distinct human touch. The serpentine trunks of trees, as in our work, often dominate the foreground, the natural contrasted with the man-made curves of quays and the geometry of descending steps. Textures are lively, furthering the sense of tactility, and the atmosphere is all enveloping. The reflective mood evokes a breath of nostalgia, part of the attraction coming from the peeling back of objectivity to reveal a Paris before its wartime occupation. 1. Fine examples of Wilson’s landscapes were purchased by the Art Gallery of New South Wales, Sydney, Art Gallery of South Australia, Adelaide and the National Gallery of Victoria, Melbourne in 1942. Prominent private collectors included Sir Warwick Fairfax, Ronald Instone, Norman Schureck and Lloyd Rees. 2. See the sketch [Flight to Egypt, after Quattrocento composition], (1937) and related studies in the collection of the National Gallery of Australia, Canberra. The very gifted Wilson worked with equal success as a modern realist and a Cubist, Abstract - The Kitchen Stove, 1943 in the collection of the Art Gallery of New South Wales being a fine example of the latter.3. Dundas, D., ‘Eric Wilson’, Art and Australia, vol. 12, no. 1, July - September Sydney, 1974, 56. Dundas described Wilson as ‘…one of the bright stars in the firmament of Australian art in the 1940s...'…’, p. 48DAVID THOMAS

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ROBERT KLIPPEL, (1920 - 2001), No. 21, POINTED THEME, 1945, Tasmanian blackwood, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 21, POINTED THEME, 1945, Tasmanian blackwood, carved SIGNED: signed with initials, dated and inscribed on base : RK / RK / MOTHER / 21 / 1945DIMENSIONS: 14.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 23, 26, 462 (illus. pl. 22) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 25, 246 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 21 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 11, GRIEF, 1944, cedar, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 11, GRIEF, 1944, cedar, carved SIGNED: signed with initials, dated and inscribed on base: RK / RK / 11 / 1944 / MOTHER DIMENSIONS: 9.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: a retrospective exhibition of sculpture and works on paper, Heide Park and Art Gallery, Melbourne, 15 September - 25 October 1987, cat. 1 Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 27, 429, 462 (illus. pl. 23) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 25, 246 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 11 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 9, ANGUISH, 1944, cedar, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 9, ANGUISH, 1944, cedar, carved SIGNED: signed with initials, dated and inscribed on base : - 0 - / RK. / - 44. / 9 DIMENSIONS: 21.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 23, 462 (illus. pl. 12) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 26, 246 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 9 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 18, WOMAN, 1945, beech wood, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 18, WOMAN, 1945, beech wood, carved SIGNED: dated and inscribed on base: 1945 / MOTHER DIMENSIONS: 15.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 23, 462 (illus. pl. 12) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 26, 246 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 18 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 8, JOHN KEATS, 1944, cherry wood and cedar, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 8, JOHN KEATS, 1944, cherry wood and cedar, carved SIGNED: signed with initials, dated and inscribed verso: TO MY DARLING MOTHER / WITH LOVE / BOB / JOHN KEATS / COPY / RK. 444 / 8 DIMENSIONS: 12.0 x 9.0 cm PROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, p. 461 (illus. pl. 429) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 8 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 39, SCHERZO, 1948, ebony, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 39, SCHERZO, 1948, ebony, carved SIGNED: signed with initials, dated and inscribed on base: RK / 48 / 39 DIMENSIONS: 42.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: James Gleeson and Robert Klippel, London Gallery, London, 9 November - 4 December 1948, cat. 4 Australian Collection Focus No. 2: James Gleeson and Robert Klippel Madame Sophie Sesostoris (a Pre-Raphelite satire) 1947 - 1948, Art Gallery of New South Wales, Sydney, 1 November - 24 January 1999Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 54, 63, 86, 463 (illus. pl. 47) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 45, 246 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 39 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 51, CONSTRUCTIONAL CARVING, 1948, satinwood, carved

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 51, CONSTRUCTIONAL CARVING, 1948, satinwood, carved SIGNED: signed with initials, dated and inscribed on base: RK / 51 . 48 / MOTHER DIMENSIONS: 51.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: James Gleeson and Robert Klippel, London Gallery, London, 9 November - 4 December 1948, cat. 14 Robert Klippel: a retrospective exhibition of sculpture and works on paper, Heide Park and Art Gallery, Melbourne, 15 September - 25 October 1987, cat. 13 Australian Collection Focus No. 2: James Gleeson and Robert Klippel Madame Sophie Sesostoris (a Pre-Raphelite satire) 1947 - 1948, Art Gallery of New South Wales, Sydney, 1 November - 24 January 1999Australian Icons: twenty artists from the collection, Art Gallery of New South Wales, Sydney, 2000 Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August 2002 - 13 October 2002 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 53, 63, 66, 86, 463 (illus. pl. 48) Palmer, M., Robert Klippel, exhibition catalogue, Heide Park and Art Gallery, Melbourne, 1987 Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 54, 247 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 51 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 113, METAL CONSTRUCTION, 1961, brazed and welded steel

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 113, METAL CONSTRUCTION, 1961, brazed and welded steelDIMENSIONS: 67.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: [Robert Klippel], Little Gallery, Minneapolis Institute of Arts, 4 - 25 June 1961 (partial label attached to base) Exhibition of Sculptures by Robert Klippel, Clune Galleries, Sydney, December 1962, cat. 19Rudy Komon Gallery, Sydney 1976 (partial label attached to base) Robert Klippel: a retrospective exhibition of sculpture and works on paper, Heide Park and Art Gallery, Melbourne, 15 September - 25 October 1987, cat. 49Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002LITERATURE: Hinder, M., ‘Australian Sculpture’ in Symmonds, M., Portley, C. and Phillips, R., (eds.), The Visual Arts, Jacaranda, Brisbane, 1972, p. 169 (illus.) Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 231, 232, 466 (illus. pl. 118) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 103, 247 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 113 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 316, METAL SCULPTURE, 1966 - 76, brazed and welded steel

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 316, METAL SCULPTURE, 1966 - 76, brazed and welded steel DIMENSIONS: 110.5 cm height PROVENANCE: Watters Gallery, Sydney Richard and Joan Crebbin Collection, Sydney, acquired from the above in 1979 Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel, Sculpture Since 1970, Watters Gallery, Sydney, 21 November - 8 December 1979, cat. 14 (illus. in exhibition catalogue, pl. 14) Robert Klippel: a retrospective exhibition of sculpture and works on paper, Heide Park and Art Gallery, Melbourne, 15 September - 25 October 1987, cat. 84Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 401, 476 (illus. pl. 353) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 160, 249 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 316 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 124, METAL CONSTRUCTION, 1962, welded metal construction

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 124, METAL CONSTRUCTION, 1962, welded metal construction DIMENSIONS: 74.0 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: sculpture, Clune Gallery, Sydney, 17 September 1963 Robert Klippel, Australian Galleries, Melbourne, 3 - 7 December 1963 Gallery A Sydney inaugural exhibition: Klippel, Olsen, Lanceley, Dawson, Gallery A, Melbourne, November - December 1964 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 219, 233, 235, 236, 467 (illus. pl. 126) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 124 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 277, METAL CONSTRUCTION, 1973, brazed and welded metal construction

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 277, METAL CONSTRUCTION, 1973, brazed and welded metal constructionDIMENSIONS: 51.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 352 - 4, 374, 382, 474 (illus. pl. 283) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 277 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 225, BRONZE SCULPTURE, 1967, unique bronze cast

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 225, BRONZE SCULPTURE, 1967, unique bronze cast SIGNED: signed with initials, dated and inscribed at base: RK 225 1967 DIMENSIONS: 42.5 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: Sculptures, Bonython Gallery, Sydney, 26 February - 13 March 1968 Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 283, 472 (illus., pl. 186) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 126, 248 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 225 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 308, BLACK PLASTIC CONSTRUCTION, 1974, plastic

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 308, BLACK PLASTIC CONSTRUCTION, 1974, plastic DIMENSIONS: 38.0 cm height PROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 362, 476 (illus. pl. 305) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 130, 249 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 308 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 223, BRONZE SCULPTURE, 1967, unique bronze cast

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 223, BRONZE SCULPTURE, 1967, unique bronze cast SIGNED: signed with initials and dated at base: RK 1967 bears inscription on base: 223 DIMENSIONS: 24.0 cm heightPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: Sculptures, Bonython Gallery, Sydney, 26 February - 13 March 1968 Robert Klippel Sculpture 1960s - 1970s from the Crebbin Collection, Deutscher Fine Art, Melbourne, 27 April - 14 May 1994, cat. 3 (illus. in exhibition catalogue) 20th Century Australian and New Zealand Painting, Martin Browne Fine Art, Sydney, March - April 1995, cat. 24 (illus. in exhibition catalogue) Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 286, 289, 472 (illus., pl. 194) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 126, 248 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 223 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 494, 1983, unique bronze cast

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 494, 1983, unique bronze castSIGNED: bears inscription on base: 494 (three times) DIMENSIONS: 20.5 cm height PROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney LITERATURE: Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 494 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 219, BRONZE RELIEF, 1967, bronze

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 219, BRONZE RELIEF, 1967, bronze SIGNED: inscribed verso: 219 signed with initials, dated and inscribed bottom edge: RK. 219 1967 DIMENSIONS: 21.5 x 25.0 cm PROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: Sculptures, Bonython Gallery, Sydney, 26 February - 13 March 1968 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 283, 290, 293, 472 (illus., pl. 206) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 219 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 144, CIRCULAR RELIEF SCULPTURE, 1962, brazed steel, bronze

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 144, CIRCULAR RELIEF SCULPTURE, 1962, brazed steel, bronze SIGNED: inscribed verso: TOP / 144 DIMENSIONS: 40.5 cm diameterPROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: sculpture, Clune Gallery, Sydney, 17 September 1963 LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 219, 236, 238, 469 (illus. pl. 133) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 144 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), No. 231, PLASTIC RELIEF, 1967 - 70, collage and plastic in an acrylic box

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Description: ROBERT KLIPPEL, (1920 - 2001), No. 231, PLASTIC RELIEF, 1967 - 70, collage and plastic in an acrylic box SIGNED: signed, dated and inscribed verso: R. K. 231 1967 - 70 / To R. Crebbin / Very best wishes and thanks . Bob DIMENSIONS: 28.5 x 40.5 cm PROVENANCE: Acquired directly from the artist, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Robert Klippel: a retrospective exhibition of sculpture and works on paper, Heide Park and Art Gallery, Melbourne, 15 September - 25 October 1987, cat. 64 Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 296, 297, 472 (illus. pl. 211) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, pp. 131, 248 (illus.) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, No. 231 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), LS 42, 1965 - 71, collage over lithograph on paper

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Description: ROBERT KLIPPEL, (1920 - 2001), LS 42, 1965 - 71, collage over lithograph on paper SIGNED: signed, dated and inscribed lower left: Structures in a Landscape / To R. C. C. with best wishes / Robert Klippel . 1965 - 71. DIMENSIONS: 72.5 x 100.0 cm PROVENANCE: Acquired directly from the artist in 1971Richard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, SydneyLITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, p. 369 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), LS 52, 1972, gouache and collage on brown paper

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Description: ROBERT KLIPPEL, (1920 - 2001), LS 52, 1972, gouache and collage on brown paperSIGNED: signed, dated and inscribed lower right: To RCC from RK. Robert Klippel. 1972DIMENSIONS: 54.0 x 74.5 cmPROVENANCE: Richard and Joan Crebbin Collection, Sydney, acquired directly from the artist in 1976Mrs Joan Crebbin, SydneyLITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, p. 373 (illus.)

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ROBERT KLIPPEL, (1920 - 2001), LS 85, 1977 - 78, thirty individual collages on paper

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Description: ROBERT KLIPPEL, (1920 - 2001), LS 85, 1977 - 78, thirty individual collages on paper SIGNED: signed and dated lower left: Robert Klippel 1977 / 78 bears inscription verso: #38 inscribed verso: To Dick Crebbin / With warm regards / From Bob Klippel . Dec 1978 DIMENSIONS: 29.0 x 41.0 cm PROVENANCE: Acquired directly from the artist in 1978Richard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Gleeson and Klippel, Rudy Komon Gallery, Sydney, 11- 29 November 1978, cat. 28 Robert Klippel: collage and drawings 1947 - 83, Art Gallery of New South Wales, Sydney, 18 November - 3 January 1984, cat. 142 Robert Klippel: a retrospective exhibition of sculpture and works on paper, Heide Park and Art Gallery, Melbourne, 15 September - 25 October 1987, cat. 92Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August- 13 October 2002 (as ‘Untitled’, 1977 - 78) LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, p. 437 (illus.) Edwards, D., Robert Klippel, Art Gallery of New South Wales, Sydney, 2002, p. 171 (illus.), p. 257

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ROBERT KLIPPEL, (1920 - 2001), LS 76, 1976, pencil, collage, crayon and watercolour on paper

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Description: ROBERT KLIPPEL, (1920 - 2001), LS 76, 1976, pencil, collage, crayon and watercolour on paperSIGNED: signed, dated and inscribed lower right: To RCC from Robert Klippel - 10/76DIMENSIONS: 36.5 x 43.0 cmPROVENANCE: Acquired directly from the artist in 1976Richard and Joan Crebbin Collection, SydneyMrs Joan Crebbin, SydneyEXHIBITED: Robert Klippel: a tribute exhibition, Art Gallery of New South Wales, Sydney, 9 August - 13 October 2002 (as ‘Untitled’, October 1976) LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, p. 433 (illus.) Edwards, D., Robert Klippel, Art Gallery of New South Wales, 2002, pp. 162 (illus.), p. 257

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JACOB EPSTEIN, (1880 - 1959, British, American), ISRAFEL (SUNITA), 1930 , bronze with green patina

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Description: JACOB EPSTEIN, (1880 - 1959, British, American), ISRAFEL (SUNITA), 1930, bronze with green patina DIMENSIONS: 46.5 cm height PROVENANCE: David Jones Gallery, SydneyRichard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney EXHIBITED: Jacob Epstein: Portraits in Bronze, David Jones Gallery, Sydney, 10 - 29 May 1976, cat. 16RELATED WORK:Israfel (Sunita), illus. in Buckle, R., Jacob Epstein: Sculptor, Faber and Faber, London, 1963, p. 181

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After MARC CHAGALL (Charles Sorlier, printer), (1887 - 1985, Russian, French), LA BAIE DES ANGES AU BOUQUET DE ROSES, 1967, colour lithograph

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Description: After MARC CHAGALL (Charles Sorlier, printer), (1887 - 1985, Russian, French), LA BAIE DES ANGES AU BOUQUET DE ROSES, 1967, colour lithograph SIGNED: signed and numbered below imageinscribed in image lower left: C.H. SORLIER SCULP. inscribed in image lower right: MARC CHAGALL PINXDIMENSIONS: 61.0 x 45.5 cm imagePROVENANCE: Richard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney RELATED WORK:This work is sheet no.5 of 12, from the series Nice et la Côte d'Azur, published by Fernand Mourlot, printed by Charles Sorlier.

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BRETT WHITELEY, (1939 - 1992), (THE TREE), ceramic tile

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Description: BRETT WHITELEY, (1939 - 1992), (THE TREE), ceramic tileSIGNED: signed lower right: BrettDIMENSIONS: 30.0 x 30.0 cmPROVENANCE: Richard and Joan Crebbin Collection, Sydney, Mrs Joan Crebbin, Sydney

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RALPH BALSON, (1890 - 1964), MATTER PAINTING, 1960, oil and enamel on composition board

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Description: RALPH BALSON, (1890 - 1964), MATTER PAINTING, 1960, oil and enamel on composition board SIGNED: signed and dated lower right: R. Balson 1960 DIMENSIONS: 55.0 x 50.0 cm PROVENANCE: Richard and Joan Crebbin Collection, Sydney Mrs Joan Crebbin, Sydney

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ROY DE MAISTRE, (1894 - 1968) , CRUCIFIXION, c. 1958, oil on gold leaf on board

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Description: ROY DE MAISTRE, (1894 - 1968), CRUCIFIXION, c. 1958, oil on gold leaf on board SIGNED: signed lower right: R. de Maistre inscribed with title and date on label verso DIMENSIONS: 27.5 x 21.5 cm PROVENANCE: Macquarie Galleries, Sydney Richard and Joan Crebbin Collection, Sydney, acquired from the above Mrs Joan Crebbin, Sydney RELATED WORK:Crucifixion, c.1957, tempera, gold leaf on wood panel, 27.9 x 21.2 cm, in the collection of the Art Gallery of New South Wales

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JOHN PASSMORE, (1904 - 1984), THE BALLOON TREE, 1955, oil on board

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Description: JOHN PASSMORE, (1904 - 1984), THE BALLOON TREE, 1955, oil on boardSIGNED: signed and dated lower right: John Passmore / 1955DIMENSIONS: 37.0 x 44.5 cmPROVENANCE: Christies, Melbourne, 14 March 1974, lot 353 Richard and Joan Crebbin Collection, SydneyMrs Joan Crebbin, Sydney

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HENRI GAUDIER-BRZESKA, (1891 - 1915, French), EQUESTRIENNE, 1913, pen and ink on paper

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Description: HENRI GAUDIER-BRZESKA, (1891 - 1915, French), EQUESTRIENNE, 1913, pen and ink on paper SIGNED: signed and inscribed on right edge: mojemu sozikowi najukochanszemu H. Gaudier Brzeska bears label verso: Arts Council of Great Britain, cat. 90 DIMENSIONS: 25.0 x 37.0 cm PROVENANCE: Mrs Sophie Brzeska Harold Stanley Ede, London Richard and Joan Crebbin Collection, SydneyMrs Joan Crebbin, Sydney EXHIBITED: Gaudier-Brzeska. An Exhibition of Drawings, The Folio Society, London, April - May 1964Possibly Gaudier-Brzeska. Sculptures and Drawings, Rudy Komon Gallery, Sydney, April 1967LITERATURE: Levy, M., Gaudier Brzeska. Drawings and Sculpture, Cory Adams and Mackay, London, 1965, pl. 40, p. 27 (illus.)

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JOHN SANTRY, (1910 - 1990), YOUNG SQUASH RACQUETS PLAYER, c.1952, oil on composition board

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Description: JOHN SANTRY, (1910 - 1990), YOUNG SQUASH RACQUETS PLAYER, c.1952, oil on composition boardSIGNED: signed lower right: SANTRYinscribed verso: “YOUNG SQUASH RACQUETS PLAYER”. 20 GNST.J. SANTRY / CLIFF ROAD NOTHWOODDIMENSIONS: 40.5 x 30.0 cmPROVENANCE: Department of Education Gallery, SydneyRichard and Joan Crebbin Collection, Sydney, acquired from the above in 1952Mrs Joan Crebbin, SydneyEXHIBITED: Society of Artists Spring Exhibition, Department of Education Gallery, Sydney, 29 August - 15 September 1952, cat. 1

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RUSSELL DRYSDALE, (1912 - 1981), MOTHER AND CHILD, pen and ink on paper

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Description: RUSSELL DRYSDALE, (1912 - 1981), MOTHER AND CHILD, pen and ink on paper SIGNED: signed lower right: Russell Drysdale bears inscription verso: Mother - Child DIMENSIONS: 34.0 x 24.0 cm PROVENANCE: The Johnstone Gallery, Brisbane Richard and Joan Crebbin Collection, Sydney, acquired from the above in 1967 Mrs Joan Crebbin, Sydney EXHIBITED: Russell Drysdale, The Johnstone Gallery, Brisbane, 15 - 30 August 1967, cat. 34 (illus. front cover, exhibition catalogue)

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RUSSELL DRYSDALE, (1912 - 1981), STUDY OF A YOUNG BOY, pen and ink on paper

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Description: RUSSELL DRYSDALE, (1912 - 1981), STUDY OF A YOUNG BOY, pen and ink on paper SIGNED: signed lower centre: Russell Drysdale bears inscription verso: no 2 DIMENSIONS: 33.0 x 25.0 cm PROVENANCE: The Johnstone Gallery, Brisbane Richard and Joan Crebbin Collection, Sydney, acquired from the above in 1967 Mrs Joan Crebbin, Sydney EXHIBITED: Russell Drysdale, The Johnstone Gallery, Brisbane, 15 - 30 August 1967, cat. 2

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RUSSELL DRYSDALE, (1912 - 1981), STUDY OF A CHILD, pen, ink and wash on paper

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Description: RUSSELL DRYSDALE, (1912 - 1981), STUDY OF A CHILD, pen, ink and wash on paper SIGNED: signed lower right: Russell Drysdale bears inscription verso: Young Child DIMENSIONS: 30.0 x 21.5 cm PROVENANCE: The Johnstone Gallery, Brisbane Richard and Joan Crebbin Collection, Sydney, acquired from the above in 1967 Mrs Joan Crebbin, Sydney EXHIBITED: Russell Drysdale, The Johnstone Gallery, Brisbane, 15 - 30 August 1967, cat. 54 (illus. front cover, exhibition catalogue)

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FRED WILLIAMS, (1927 - 1982), ONE TREE HILL, FERNTREE GULLY, 1968, gouache on paper

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Description: FRED WILLIAMS, (1927 - 1982), ONE TREE HILL, FERNTREE GULLY, 1968, gouache on paperSIGNED: signed lower right: Fred WilliamsDIMENSIONS: 55.0 x 74.0 cmPROVENANCE: Probably Rudy Komon Gallery, SydneyPrivate collection, SydneyCompany collection, SydneyLITERATURE: Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 137ESSAY: Closely related to the first oil painting Fred Williams produced en plein air after a hiatus of almost ten years, also titled One Tree Hill, this gouache on paper is a careful investigation into the effects of bushfire on the Australian bush.1 The artist wrote in his dairy the day of this excursion: 'Down the track at the pond at F.T.G.N.P. (Fern Tree Gully National Park) find a very lovely spot I had previously made several gouaches here and we work all day in spite of drizzle. These are the first outdoor oils I have painted in many years! ... This has probably meant my closest look at a piece of country since the early days at Lilydale.'2 In the summer of 1967, the fires that ravaged the Dandenong Ranges nearly destroyed the artist’s home at Upwey. The traumatic yet inspiring experience led him to paint the very moving bushfire series including such works as Burnt Landscape, 1968 in the Gordon Darling collection. In a distinctive composition featuring the recurring emblem of One Tree Hill’s crossed tracks in the Fern Tree Gully National Park, this painting is one of the most referential within Williams’ oeuvre. By reducing his stylistic devices to their most minimal expression, by the late 1960s Williams had developed an idiosyncratic shorthand that allowed him to explore variations of atmospheric effects, tonal and spatial intricacies within the natural landscape. Significantly, the visual cue of the landscape’s crossed tracks was also a mise en abyme (a self-reflexive embedding of an emblem within an artwork) of the artist’s own processes in the creation of his artworks. Speaking to James Gleeson in 1978, Williams explained his use of diagonal wires placed over his compositions to establish single or various focal points, a device used by pioneering classical landscape painters of the Barbizon school.3 Characterised by touches of paint and lines laden with black pigment set against a sweeping wash, One Tree Hill, Ferntree Gully, 1968 expresses Williams’ poignant appreciation of the distinctive scenery of Ferntree Gully National Park, and the destructive power of Australian bushfires. Shimmering and seemingly still smouldering, the delicate tones of this work evoke the overwhelming vastness of the artist’s vista, the line of trees bisecting the canvas reduced to slight apostrophes of paint on a pale horizon. 1. Ibid.2. Williams's diary entry for 29 June 1968, as quoted in Mollison, ibid. p. 137. 3. Ibid., p. 100 - 101LUCIE REEVES-SMITH

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WILLIAM ROBINSON, born 1936, CARNARVON GORGE AFTERNOON LIGHT, 2009, oil on linen

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Description: WILLIAM ROBINSON, born 1936, CARNARVON GORGE AFTERNOON LIGHT, 2009, oil on linenSIGNED: signed and dated lower left: William Robinson 2009inscribed with title verso: CARNARVON GORGE AFTERNOON LIGHTDIMENSIONS: 110.0 x 162.0 cmPROVENANCE: Australian Galleries, Melbourne (label attached verso) Private collection, MelbourneEXHIBITED: William Robinson: Twenty ink drawings, Eight paintings, One sculpture - New works 2009, Australian Galleries, Melbourne, 27 April - 12 May 2010 and Australian Galleries, Sydney, 8 June - 27 June 2010 (illus. in exhibition catalogue, p. 71)ESSAY: By the time William Robinson came to paint his Carnarvon Gorge series he was already regarded as a great Australian landscape painter. With four of Australia'’s most prestigious art prizes to his name (two Archibald and two Wynne prizes) as well as thirty eight solo exhibitions, the artist had every right to feel comfortable with the mantle. Robinson broke the mould when it came to painting the Australian landscape. Where many Australian artists of his generation have chosen to look inwards towards the outback’s desperate beauty, Robinson focussed almost entirely on the ancient rainforests and eucalypt forests of south east Queensland. Robinson'’s progress as a painter is easily charted as each of the artist’s exhibitions trumpeted his latest innovation or discovery. Carnarvon Gorge Afternoon Light, 2009 shows a further side to this development. The physical application of the paint is broader and softer as the artist'’s staccato brush work has given way to a more contemplative, patient method of applying the paint. No longer does the colour fizz on the surface, but nestles gently in small pockets of form and mass. The urgency to capture the moment and draw it to a towering crescendo has given way to a rhetorical meditation on the picture itself. The forms have solidified; the rocks and trees have gained weight and exude permanence. Cézanne’'s natures mortes feel nearby in the manner in which the rocks ascend the picture plane. Across the tops of the giant cliffs Robinson uses bright sunlight to reinforce the height, grandeur and timeless beauty of their ancient forms which dominate the forests. Robinson’s swirling horizons have almost settled, and you can sense the calmness that the artist himself must have felt as the painting unfolded. In an essay on the consciousness of creativity, David Malouf describes Robinson’s Carnarvon Gorge paintings... 'It is the appeal these paintings make to the senses, and never more directly or more powerfully than in the grand panoramas of the Carnarvon Gorge: the play of paint on the canvas, the complex rhythms, the illusionistic conjuring with the effects of light and air in a technical display so easy, so un-insistent, that it looks like another form of nature. All this in celebration of the ancient landforms and vegetation of a bit of local earth whose vigorous being, and variety, and otherness is taken so deeply in by the observing eye, and so lovingly and movingly remade in the creator’s consciousness, as to make consciousness and the created world when we enter these painted landscapes, one. This is the special power of Robinson’s vision and of the visionary experience he offers us through the skill of his hand and the precision of his all encompassing gaze.'1 The sensation when viewing these fuller, later Robinson paintings is one of contentment, the artist’'s enjoyment, confidence and wonder at what he has achieved as a painter is all there in the finished painting. The near conventional perspective in the Carnarvon Gorge paintings is in itself an innovation when compared to the topsy-turvy, turbulent compositions with which the artist established his reputation. Malouf, D., ‘Making consciousness and the created world’, William Robinson The Transfigured Landscape, QUT Press, Brisbane, 2011, p. 74HENRY MULHOLLAND

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BRETT WHITELEY, (1939 - 1992), DAWN, 1974 (LAVENDER BAY SERIES), oil on canvas

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Description: BRETT WHITELEY, (1939 - 1992), DAWN, 1974 (LAVENDER BAY SERIES), oil on canvasSIGNED: signed, dated and inscribed with title on stretcher verso: ‘Dawn’ Lavender Bay Series / Brett Whiteley 1974DIMENSIONS: 91.0 x 60.5 cmPROVENANCE: Australian Galleries, SydneyPrivate collection, SydneyDeutscher ~ Menzies, Sydney, 13 June 2007, lot 31Company collection, Sydney, acquired from the aboveEXHIBITED: Brett Whiteley: Lavender Bay Series, Australian Galleries, Melbourne, 19 November - 3 December 1974, cat. 24ESSAY: Exuding a sense of lyricism and tranquillity, Dawn, Lavender Bay Series, 1974 encapsulates well the sensuous Lavender Bay scenes for which Whiteley remains so widely acclaimed and admired. Considered the crowning achievement of his career, the series signalled a marked departure from art as a reforming medium - from politics, social consciousness and a Rimbaudian vision of life as a contest between good and evil - towards tableaux strongly inspired by Matisse and his aspirations for '...‘…an art of balance, purity and serenity, devoid of troubling or depressing subject matter, an art which might be something like a good armchair in which to relax from physical fatigue.’'1 Earlier in 1974, a large and successful retrospective exhibition of his drawings at Bonython Gallery had enabled Brett and his wife Wendy to purchase the Lavender Bay house they had been renting, thus signifying Whiteley’'s emotional bonding with Australia - '‘a centring, as it were, of his universe.’'2 As Wendy later recalled, '‘in a sense Lavender Bay was Brett'’s return to paradise, having come from a very anxious situation - and it is paradise. He said some quite tender things at the time, like '‘I'’m at home at last...'’…’3 From this stable domestic base, and quite literally his living room window, Whiteley now turned to the Harbour for inspiration, with the brilliant ‘optical ecstasy’ of Lavender Bay - burnt orange in the midday sun, sparkling sapphire blue at twilight or drenched golden-pearl at dawn (as featured here) - providing his muse. Seduced by this new love, the enchanting siren of Sydney Harbour, Whiteley would continue over the next two decades to explore further the theme of Lavender Bay, capturing her many moods through sumptuous interiors, harbour views and still-lifes. The result was indeed his most celebrated body of work for, within three years of embarking upon the series, Whiteley had won three of Australia’s most coveted art awards, all with Lavender Bay paintings notably executed around the same year as the present composition - the Archibald Prize for Self-Portrait in the Studio, 1976; the Sulman Prize for Interior with Time Past, 1976; and the Wynne Prize for The Jacaranda Tree, 1977. A stunning example from this pivotal period within the artist’s oeuvre, Dawn, Lavender Bay Series poignantly evokes the poetry of the bay with its subdued impasto palette of ochre, cream and white; sensuality of line and electrifying highlights of ultramarine which Whiteley famously observed, '...‘…hit my nervous system in such an exciting way.'’4 Reminiscent of Chinese art in its calligraphic deftness and lack of perspectival reference, the composition reveals an observational acuity and refined minimalist sensibility that would become a hallmark of the series and as such, is closely related to bolder interpretations such as the iconic Big Orange (Sunset), also of 1974, which was originally owned by Australian Nobel Laureate writer Patrick White and subsequently donated to the Art Gallery of New South Wales, Sydney. Beyond any formal concerns, however, Whiteley’s abiding preoccupation with such panoramas lay in immortalising the beauty of his subject. As he mused in the introduction to the catalogue accompanying his ground-breaking show at Australian Galleries in 1974 where Dawn, Lavender Bay Series was first unveiled, these paintings '...‘…begin from the premise of recording the glimpse seen at the highest point of affection - points of optical ecstasy, where romanticism and optimism overshadow any form of menace or foreboding...'…’5 1. Matisse cited in McGrath, S., Brett Whiteley, Bay Books, Sydney, 1992, p. 1812. Whiteley, W., cited in Pearce, B., Brett Whiteley: Art and Life, Thames and Hudson, Sydney, 1995, p. 353. Ibid., p. 484. Whiteley, B., cited in interview with Phillip Adams, Radio 2UE, Sydney, September 19865. Whiteley, B., cited in McGrath, op. cit., p. 185VERONICA ANGELATOS

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BRETT WHITELEY, (1939 - 1992), NUDE, BALI, 1980, ink on cotton

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Description: BRETT WHITELEY, (1939 - 1992), NUDE, BALI, 1980, ink on cottonSIGNED: signed and dated lower right: Brett Whiteley 80 / BaliDIMENSIONS: 172.0 x 137.0 cm PROVENANCE: Estate of the artist, SydneyAustralian Galleries, SydneySavill Galleries, SydneyPrivate collection, Sydney EXHIBITED:Brett Whiteley: Recent Nudes, Artist’s Studio, Circular Quay, Sydney, 3 – 31 October 1981, cat. 59, as Nude in Bali, ink on hotel sheet Brett Whiteley Drawings, Australian Galleries, Sydney, 16 September – 15 October 1994, cat. 24,as Bali (Wendy on a Sheet), 1980ESSAY: For Whiteley, a deep appreciation for the sensuality of the human form permeated every aspect of his life and art. Recognised by art critic Bryan Robertson during Whiteley’'s early years in London as '‘a level of sexual and sensual sophistication rare in an artist so young'’1, indeed this predisposition would ultimately underpin and inspire his entire creative oeuvre. Without doubt however, it is in the myriad of paintings, drawings, sculptures and etchings dedicated to the female nude that Whiteley most thoroughly and adeptly manifests his abiding preoccupation with the sensual and tactile - exploiting the expressive and abstract possibilities of the genre to create some of the most erotic nudes ever conceived by an Australian artist. Clearly, Whiteley also considered the subject '‘predominant really... …a very major part of my work’'2, elaborating thus '‘…If genius is the atheist’s word for God… then the attempt to visualise the great nude would be the highest point of creation, for perfection is impossible, and no distortion can be extreme enough.'’3 Exemplifying this sheer delight in the beauty of the female form, Nude, Bali, 1980 was executed during the artist's trip to Bali in 1980 with his closest friend, sculptor Joel Elenberg who, dying from cancer, had decided to spend his final weeks in the island paradise. Although an emotionally turbulent time for Whiteley during which he endured a protracted period of mourning - as poignantly attested by works such as The Letter (To Anna), 1980 - 81 - there is notably no hint of sadness in his interpretation here. Rather, evoking parallels with the reclining odalisques of artistic predecessors including Matisse and Gauguin, the painting exudes a sense of languid, sensual pleasure. Moreover, with the figure here dominating the picture plane, the composition also echoes Whiteley’'s own earlier ‘Bathroom series’ - his first consolidated depictions of the nude which celebrated his love for his new wife and muse, Wendy, and heralded his breakthrough as an accomplished figure draughtsman. Two decades later, however, the erotic is made arguably more explicit in the model’'s provocative frontality - she is voluptuous, fecund and overtly sexual. Infused with an unmistakable sense of voyeurism, the work is a superb example of Whiteley'’s lifelong quest to visualise the '‘perfect'’ nude; as the artist himself wrote with characteristic irreverence in catalogue notes accompanying an exhibition of comparable nudes in 1981, ‘…'most men, and certainly all artists, even if many never get around to actually painting it, carry in their heads the great nude. The Venus, the Bathsheba, the Bather, Diana, even the great centrefold, he carries all his life the idealisation, carries it like some little uncut gem in his mind, waiting there to be given form. Filtering down through civilisation is the urge to show this glimpse of beauty, where invention and skin become one, and the history of art marries the whole history of one’s sex. Mistress, mother, lover, whore, obtainable - unobtainable, it is the wonder of a perfect distortion.'’4 1. Robertson, B., cited in McKenzie, J., ‘Obituary: Brett Whiteley’, ‘Divided Self, Sweeping Line’, The Guardian, 18 June 1992, n.p.2. Whiteley, B., cited in Don Featherstone's film Difficult Pleasure: A Portrait of Brett Whiteley, 1989.3. Whiteley, B., ‘Recent Nudes’, exhibition catalogue, Artist’s Studio, Sydney, 1981, n.p.4. Whiteley, B., ibid. VERONICA ANGELATOS

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WILLIAM ROBINSON, born 1936, LANDSCAPE WITH TWO WATERFALLS, 1990, oil on canvas

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Description: WILLIAM ROBINSON, born 1936, LANDSCAPE WITH TWO WATERFALLS, 1990, oil on canvasSIGNED: signed and dated lower right: William Robinson 1990inscribed with title verso: LANDSCAPE WITH TWO WATERFALLSDIMENSIONS: 138.0 x 198.0 cmPROVENANCE: Ray Hughes Gallery, SydneyPrivate collection, SydneyEXHIBITED: William Robinson: Paintings, Ray Hughes Gallery, Sydney, 28 September - 20 October 1991 ESSAY: The 1990s was an important decade for William Robinson. At the age of 54 he had recently retired from teaching and had begun painting full-time. He won the prestigious Wynne Prize for landscape painting in 1990, again in 1996, and his second Archibald Prize win came in 1995. His 1991 solo exhibition, featuring works based on the Beechmont Range near Canungra in the Gold Coast hinterland, William Robinson: Paintings, was met with critical acclaim and sold out prior to the exhibition opening. Landscape with Two Waterfalls, 1990 was amongst these keenly sought after paintings. This exhibition heralded further major developments in Robinson'’s painting. The whimsical elements which were so important to many of his works until now, gave way to a more mature, spiritual perspective on the landscape. His pictures began to take on a grander scale as his view of the landscape zoomed back allowing the hills and horizons to form folding vistas. Robinson often refers to the concepts of creation when discussing or titling his paintings. In the Beechmont paintings it is the creeks and rivulets that represent the touch of the creator, these being the timeless architects of the hills and gorges which form the Beechmont Range. The waterfall which cascades to the right of the composition has a soft gravitational pull which draws the viewer’'s eye and causes one to read the picture in a clockwise direction. In 2001, for the first major monograph on his work, Robinson reflected on his approach to the Beechmont paintings... '‘My walks were very important for setting out the paintings. They were the direct result of walking, and have some feeling of wandering around in them. Through all this they more and more included the sensation of being in the landscape. These paintings are inner visions of mine; visions that are searched out after being given a jump start by thoughts on the landscape and nature. I strive to give meaning to those basic feelings and questions that we all have. Why do we have such powerful responses to nature and why do its visions and moods affect us so deeply. I feel that we are given moments of insight into things that are not seen as facts but as interior experiences. These visions are not fully formed pictures, but I strive to hold them and form them once they begin'.’1 Robinson would occasionally pre-empt changes in his works as he neared the end of a series. For example, he may choose to finish with images of sunsets, thus gently closing one door as another opens. A further delicate pointer in Landscape with Two Waterfalls is the row of cows in the lower left of the painting. These cows and other farm animals played an important role in formulating Robinson’'s rigorous compositional innovations. Therefore, in a mischievous aside, Robinson acknowledges the important role these animals played in his works, as he depicts them exiting the picture lower left in an orderly procession. 1.Robinson, W., quoted in Klepac, L., William Robinson: Paintings 1987 - 2000, The Beagle Press, Sydney, 2001, p. 89HENRY MULHOLLAND

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ARTHUR BOYD, (1920 - 1999), SLEEPING NUDE, 1962, oil and tempera on composition board

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Description: ARTHUR BOYD, (1920 - 1999), SLEEPING NUDE, 1962, oil and tempera on composition boardSIGNED: signed lower right: Arthur BoydDIMENSIONS: 160.0 x 183.0 cmPROVENANCE: Collection of Michael Wells and Susannah York, London (inscribed verso) Savill Galleries, SydneyPrivate collection, Melbourne, acquired June 1998EXHIBITED: Arthur Boyd: Retrospective Exhibition, Whitechapel Gallery, London, June-July 1962, cat. 146 (cat. no. inscribed verso, lent by the artist) Arthur Boyd Retrospective Exhibition, National Gallery of South Australia, Adelaide, March 1964, cat. 52 (label attached verso, lent by Mrs Michael Wells, London) Arthur Boyd Retrospective Exhibition of Paintings,1936-62, Museum of Modern Art and Design, Melbourne, 5-28 May 1964, cat. 56Three Australian Painters, Towner Gallery, Eastbourne, 1965A Century of Australian Painting, 1888 - 1988, Savill Galleries, Sydney, 21 April - 21 May 1988, cat. 45 (illus. in exhibition catalogue)LITERATURE: Arthur Boyd: Retrospective Exhibition June-July 1962, The Gallery, London, 1962, p. 30, cat. 146Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, pp. 108-110, 127-128, cat. 10.70, pl. XXXIX (illus.) McKenzie, J., Arthur Boyd: Art and Life, Thames and Hudson, London, 2000, pp. 109 - 111ESSAY: The imaginative power of Arthur Boyd’s Sleeping Nude, 1962 singles it out as one of his great works, neighbour to Nude with Beast III (Diana and Actaeon I), 1962, in the collection of the National Gallery of Victoria, Melbourne, courtesy of the Felton Bequest. The two paintings were in Boyd’'s 1962 exhibition held in London’s Whitechapel Gallery. A major retrospective, it was reviewed enthusiastically by The Times, Tatler, Guardian, Daily Telegraph and others. It also claimed the attention of Boyd scholars such as the eminent Australian Franz Philipp, whose Thames and Hudson monograph on Boyd was published a few years later. Philipp devoted several pages and a colour plate to the painting, his enthusiasm leading him to write: 'It is the ‘Venus observed’ image, … , that brings us to the dénouement of the mythological circle, to the most tranquil and poetic picture of this phase of great creative abundance, The Sleeping Nude (cat. 10.70) of 1962.' 'The artist has represented this sleeper of mother-of-pearl iridescence in a pose remarkably close to that of Giorgione’s Dresden Venus.'1Philipp expanded his observations to include Titian through to Manet'’s Olympia, observing that ‘Boyd’'s Sleeping Nude turns back to the origins of this symbol of desire [quoting Kenneth Clark] “to the inspired idea that naked beauty could be a natural feature of landscape”.2 Sleeping Nude has its genesis in Boyd’'s Bride Series, the white of the wedding dress and red soldier’'s jacket, voyeuristic fixations and the like. Later in London, its powerful companions were to include Bridegroom in a Black Creek, 1960, which was once in the collection of Sidney Nolan. Another, the magnificent Figure in a Landscape (Nude Washing in a Creek III), 1961 is in the collection of the Art Gallery of New South Wales, Sydney. Although Eros is more subdued in Sleeping Nude 1962, its sensuous appeal embraces the imagery, colour and the very application of the paint itself. The balance between stillness and movement, the primal setting and purple moon hint at another Eden, figures independent yet fused with the landscape. Flame-like light flickering across the body invitingly adds to its delicate yet ravishing beauty, sleep and the dreamy mood enhancing the brilliant imagery drawn from the subconscious. As has been noted by several scholars, in this and other paintings of the series, that Boyd created a new concept and image of the goddess of love and beauty, a Venus drawn from and suited to the twentieth century. 1. Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 1082. Ibid, quoting Clark, K., The Nude, John Murray, London, 1956, p. 119DAVID THOMAS

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EMANUEL PHILLIPS FOX, (1865 - 1915), THE BLUE SHUTTERS, c.1909 - 11, oil on canvas

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Description: EMANUEL PHILLIPS FOX, (1865 - 1915), THE BLUE SHUTTERS, c.1909 - 11, oil on canvasSIGNED: signed lower left: E. Phillips. Fox.bears inscription on stretcher verso: The Blue Shutters / By E Phillip Fox [sic] / Bought / 1913bears inscription on stretcher verso: Mrs R[illleg.] Morrison DIMENSIONS: 37.5 x 45.0 cmPROVENANCE: Athenaeum Hall, Melbourne, 1913Private collection, VictoriaThence by descent Private collection, New South WalesEXHIBITED: Catalogue of Pictures by E Phillips Fox, Athenaeum Hall, Melbourne, 17 June - 4 July 1913, cat. 49 LITERATURE: ‘Art Exhibitions: Mr. E. Phillips Fox’s Pictures’, Age, Melbourne, 17 June 1913, p. 8 ‘Mr. Phillips Fox’s Exhibition’, Argus, Melbourne, 17 June 1931, p. 9Zubans, R., E. Phillips Fox: His Life and Art, The Miegunyah Press, Melbourne University Press, Melbourne, 1995, cat. 326, p. 225ESSAY: In mid-1913, Emanuel Phillips Fox offered the Australian public one of the most important solo exhibitions held during his lifetime. Opening in June at Melbourne’'s Athenaeum, followed by The Royal Art Society, Sydney, in October, the seventy paintings on show included some of Fox’'s finest and most famous works. Reverie, 1903, which is now in the Musée d’'Orsay, Paris; The Arbor, 1910, acquired by the National Gallery of Victoria through the Felton Bequest in 1916; The Ferry, c.1910 - 11 which today continues to attract much favourable attention in the Art Gallery of New South Wales, and as does Bathing Hour, c.1909 in the Queensland Art Gallery. This is to mention but a few in a catalogue that includes Lamplight, c.1911, The Terrace, c.1912, and many more. These masterly works had been shown variously in London'’s Royal Academy, the Salon of the Société des Artistes Français, the Salon d'’Automne, Paris and the International during the years 1904 to 1912. They were recognized as his best, the art critic for the Melbourne Argus noting their inclusion ‘so that Victorians will have the opportunity of appreciating the pictures which have won so much honour for their compatriot’.1 Significantly, it was the smaller works, particularly The Blue Shutters, c.1909 - 11, that caught his eye. He commented: 'Leaving the larger works to their own attractions, many of the smaller landscapes claim attention, notably “The Blue Shutters,” a remarkable essay in pure sunlight, as brilliant as anything an Australian midsummer sun could accomplish.'2The writer for The Age responded in similar vein: 'The little landscapes are strong in their effects of the sun’'s heat and glitter, with a sense of the all-enveloping atmosphere, which harmonises all things in nature, even at her most garish moments of midday brilliancy. Such examples as Market Day, The Square, Street Scene, All In Bou Saada, The Blue Shutters, The Colonnade, Granada and La Tonnelle, are a few of the delightfully spontaneous records of effects seen and rapidly noted.' 3While it is not surprising that The Blue Shutters was acquired direct from the Melbourne exhibition by a discerning collector, it is remarkable that it has remained outside public view until now. Its quality ensures a welcome return. Although the exact location of The Blue Shutters is uncertain, one suggestion is Cassis where Fox'’s friend Rupert Bunny painted in 1931. The brilliant colour and light is evocative of those French towns on the Côte d’Azur, Sanary and Le Brusc. Several such sparkling landscapes as The Coast at Le Brusc and Towards Sanary, France were in Fox'’s 1913 exhibition. There were also many sunny canvases of Spain and Morocco. In all these, and especially The Blue Shutters, the enveloping and transforming atmosphere combined with the sense of immediacy and freedom with which the paint has been applied still captures the eye today, providing an experience that is immensely engaging . 1. ‘Mr. Phillips Fox’s Exhibition’, Argus, Melbourne, 17 June 1931, p. 92. Ibid.3. ‘Art Exhibitions. Mr. E. Phillips Fox's Pictures’, Age, Melbourne, 17 June 1913, p. 8DAVID THOMAS

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SYDNEY LONG, (1871 - 1955), THE PUMPKIN PATCH, 1895, oil on wood panel

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Description: SYDNEY LONG, (1871 - 1955), THE PUMPKIN PATCH, 1895, oil on wood panelSIGNED: signed and dated lower right: Sid Long / 95DIMENSIONS: 40.0 x 30.0 cmPROVENANCE: Private collection, SydneyCompany collection, SydneyEXHIBITED: The Society of Artists. First Exhibition, York Street Rink, Sydney, 28 September 1895, cat. 3LITERATURE: Catalogue First Exhibition By the Society of Artists, Sydney, 1895, cat. 3Mendelssohn, J., The Life and Work of Sydney Long, McGraw-Hill, Sydney, 1979, cat. 26, p. 227ESSAY: Sydney Long’'s The Pumpkin Patch, 1895 heralds the emergence of a style singular in Australian art. Included in the Sydney Society of Artists inaugural exhibition of September 1895, the exhibition was grand in scale, numbering over two hundred works by many of Australia’'s then leading artists. Chief among the masterpieces on show were Tom Roberts’ iconic Bailed Up and Arthur Streeton'’s Cremorne Pastoral, 1895 (both in the collection of the Art Gallery of New South Wales, Sydney). The latter was hailed as ‘… one of the finest pictures of the year’.1 Streeton exhibited twelve works, followed closely by Long, who showed a handsome group of eleven. Of Long'’s work, the same critic noted that the ‘…great canvas entitled “Summer,” [was] somewhat excitedly coloured …, but yet not without the effects which only talent can achieve’. 2The exhibition also included Long’'s In the Spring, c.1895 (Newcastle Art Gallery, New South Wales), like The Pumpkin Patch in depicting a single woman within the landscape, vertical of composition and painted on a wood panel. Long'’s Feeding Time, c.1896 (National Gallery of Australia, Canberra), another work related in subject and style, was included in the Society of Artists’ exhibition of the following year. The location for all three is thought to be on or near Griffith'’s farm near the Hawkesbury River at North Richmond. It was an area of great appeal inspiring many major works of the like of Charles Conder'’s Springtime, 1888 (National Gallery of Victoria, Felton Bequest) and Streeton’'s The Purple Noon'’s Transparent Might, 1896, again in the National Gallery of Victoria and purchased in the year it was painted. What is so striking about Long’'s three paintings is their all-pervasive calm. Stillness is palpable. Winter morning, a sparkling spring day, or high noon, nothing moves. Even the feeding chooks and calves are fixed in a moment of time, as stillness becomes the subject itself. In the crisp, clear air the verticals, single and sensuous, take their first tentative steps towards Art Nouveau. The added rural charm of simplicity and domesticity is watched over in each by the female figure, the nurturing woman. As further welcome harbingers, there is just a touch of that dreamy mood which permeates so much of Long'’s later art. In Spirit of the Plains, 1897 (Queensland Art Gallery, Brisbane) the female figure became the piping nymph, or devotees of Pan in the dream-like mythologising Pan, 1898 (Art Gallery of New South Wales). Symbolist masterpieces, blending the modern with the mythological, they celebrate the beauty of the poetic in the Australian landscape, lyrical evocations of an Antipodean Arcadia. 1. ‘The Society of Artists’ Exhibition’, Sydney Morning Herald, 27 September 1895, p. 2. Tom Roberts was the Society'’s Chairman, and Streeton and Long were members of the Council. In his speech at the Society'’s inaugural dinner, Roberts announced the bequest of £50 by Mr Richard Wynne for an annual prize for landscape painting, marking the beginning of the Wynne Prize organized by the Art Gallery of New South Wales.2. Ibid. DAVID THOMAS

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ARTHUR STREETON, (1867 - 1943), SHEOAK, 1928, oil on canvas

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Description: ARTHUR STREETON, (1867 - 1943), SHEOAK, 1928, oil on canvasSIGNED: signed lower left: A. STREETON DIMENSIONS: 35.5 x 46.0 cmPROVENANCE: Macquarie Galleries, SydneyMr Robert Copeland Lethbridge, Bowral, New South WalesThence by descentMrs Ruby Lethbridge (née Simpson), Sydney, his widowThence by descentMrs Gwendolyn Barriskill (née Simpson), Sydney, her niecePrivate collection, Sydney (a wedding gift from the above, the bride’s mother)EXHIBITED: Possibly Exhibition of Paintings by Australian Artists, Fine Art Society’s Gallery, Melbourne, 25 October - 10 November, 1928, cat. 59Recent Paintings Arthur Streeton, Macquarie Galleries, Sydney, 4 - 11 April 1929, cat. 11 LITERATURE: Streeton, A., The Arthur Streeton Catalogue, Melbourne, 1935, cat. 986, p. 138 (as ‘The She-oak’, 1928, oil, 18 x 14, in the possession of Mr R.C. Lethbridge)ESSAY:Trees are central to Arthur Streeton’s art. Even in England he painted the mighty oak. But it was Australian native trees in all their grandeur and many varieties that filled most of his canvases, evoking a nobility that inspired nationalism and spoke of the resilience of the Australian character. In his youth Streeton invested them with a romantic lyricism, as in the slender gums rising upwards over the young lovers in Above Us the Great Grave Sky, 1890. While in that same year The Selector’s Hut: Whelan on the Log, 1890, gum trees and pioneering endeavour cohabit a quite different work. (Both paintings are in the collection of the National Gallery of Australia, Canberra.) In later, panoramic landscapes as the Land of the Golden Fleece, 1926 (National Gallery of Victoria) Australian native trees people the broad expanses, being as much a part of the iconic scene as the sun baked land of grazing sheep and blue hills. Having settled at Olinda in the Dandenong Ranges in the twenties, the keen conservationist comes more to the fore. In the poignant Last of the Messmates, 1928, (private collection) the giants are now fallen, being one of several essays in the destruction of the messmate gums. And in A Mountain Side, 1935 (Westpac Banking Corporation) the mighty trunks brought low dominate the foreground in solemn silence.Streeton loved native trees for themselves as well as what they stood for in aesthetic and nationalistic terms. Sheoak, 1928, is set in profile on the edge of an ascending slope, with a second tree placed more distant and smaller, as if to emphasise by contrast the majesty of the other. Striking in its composition, the light-filled landscape and short shadows of noontide invite the eye along the track to the horizon’s edge. When Streeton held his solo exhibition at the Fine Art Society’s Galleries in Melbourne in March 1928, his painting Sunlight Impression caught the critic’s eye, describing it as ‘One of the best things in the show … . Here the painter is most successful in rendering the heat of a hillside, with trees and rocks, against one of those blue skies that appear at times in the summer heat to be darker than the rest of the landscape’.1 The similarity to our painting indicates Streeton’s fascination with the motif.These were vintage years for Streeton, who, at the height of his fame, was awarded the 1928 Wynne Prize for his painting Afternoon Light, Goulburn Valley, Victoria, 1927, (National Gallery of Australia). In 1931, he was further honoured by the Art Gallery of New South Wales with a loan exhibition of his works, and Art in Australia published the ‘Arthur Streeton Number’ in October of the same year. His solo exhibitions were numerous and successful, as our painting shows.1. ‘Mr. Streeton’s Landscapes’, Age, Melbourne, 15 March 1928, p. 13DAVID THOMAS

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CLEMENT MEADMORE, (1929 - 2005), THROUGH WAY, 1965, welded steel

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Description: CLEMENT MEADMORE, (1929 - 2005), THROUGH WAY, 1965, welded steelDIMENSIONS: 198.0 x 48.0 x 45.5 cmPROVENANCE: Estate of Audrey Deckoff, New York, USAPrivate collection, USASkinner, Boston, 23 September 2016, lot 452Company collection, SydneyRELATED WORK:Criss Cross, 1965, (a series of five steel sculptures of which Through Way is one). The series was later separated into two groups: one group of three sculptures (Criss Cross I, II, & III) and one group of two. The latter group was then divided and each work sold separately, Through Way being one of those works.ESSAY: A large-scale steel edifice jutting up towards the heavens, Through Way, 1965 is a key example of Clement Meadmore’'s early outdoor sculpture, created soon after his migration to New York in 1963. This work was produced during critical crossroads in the artist’'s career, a short-lived span of three years during which he devoted himself exclusively to rectilinear compositions. The artworks from this period were removed from Meadmore'’s textured slab-plane constructions of the 1950s and still far from the curves that would come to represent his sculptural practice from 1966 onwards. Belonging to a series of five steel sculptures collectively titled Criss Cross, 1965 - comprising of Criss Cross, Overpass, Thick and Thin (sold as a group of three works), Through Way and another single sculpture, title unknown - Through Way is a unique and pure sculpture that perfectly embodies the stylistic and theoretical evolution of Meadmore'’s oeuvre within the Modern art movements of the mid-twentieth century. In Melbourne in the late 1950s, Meadmore founded the design-based Gallery A with Max Hutchinson as an interdisciplinary exhibition space modelled on the Weimar Bauhaus.1 The geometric rigour associated with Bauhaus seeped Meadmore’'s sculptural works by the time he arrived in New York. Contrary to what one might imagine, Meadmore was not clearly influenced by Minimalist sculpture being practiced in New York at the time, he was instead inspired by the geometric lines of the early modern painter Piet Mondrian and the modernist impetus to push forms of art to their physical limits, as dictated by Clement Greenberg’'s theory of Abstract Expressionist painting. Meadmore’'s practice during these years underwent a process of purification. The resulting effortless physical grace belied his true labour-intensive process of conception and creation. With simplified forms and a restricted formal vocabulary he varied only through slight adjustments in size and placement, Meadmore'’s series of sculptures from 1965 have a commanding presence. Like various practitioners of Minimalist sculpture, Meadmore was particularly dedicated to the idea that his sculptures should be able to be viewed entirely and instantaneously from any single viewpoint. Eric Gibson writes of the inherent space-altering quality of these works from 1965, how they dominate the environment: '‘instead its relationship to space is more forceful and direct than any of his works heretofore. it occupies space rather than interacts with it’.' 2 For all of its formal simplicity, the subtle differences in proportion and permutations of intersections between separate block-forms render these sculptures particularly thought-provoking. Through Way features two large rectangular prisms, the heights of which are perfectly divided in a ratio of 1 to 3. In between these two blocks is slotted a thin rectangular block - the physical equivalent of a pause, a breath, a musical rest. 1. McNamara, A. and Stephen, A., ‘The Story of the Sixties … A Pile-Up on the Freeway of Advanced Art’ in Anderson, J. (ed.), The Cambridge Companion to Australian Art, University of Melbourne, Melbourne, 2011, p. 177 2. Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York City, 1994, p. 24 LUCIE REEVES-SMITH

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ROSALIE GASCOIGNE, (1917 - 1999), KALEIDOSCOPE, 1994, sawn plywood on plywood

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Description: ROSALIE GASCOIGNE, (1917 - 1999), KALEIDOSCOPE, 1994, sawn plywood on plywoodSIGNED: signed, dated and inscribed with title verso: Rosalie Gascoigne / 1994 / KALEIDOSCOPE DIMENSIONS: 77.5 x 78.5 cmPROVENANCE: Roslyn Oxley9 Gallery, SydneyPrivate Collection, MelbourneEXHIBITED: Greenaway Art Gallery, Fourth Australian Contemporary Art Fair, Melbourne, 29 September - 2 October 1994LITERATURE: MacDonald, V., Rosalie Gascoigne. Sydney: Regaro, 1997, p. 108ESSAY: ‘'Second hand materials aren’t deliberate; they have sun and wind on them. Simple things. From simplicity you get profundity.'’1 With her training in the formal discipline of Ikebana complementing her intuitive understanding of the nature of materials, her deep attachment to her environment and later interest in modern art, Rosalie Gascoigne remains one of Australia's most revered assemblage artists. Bespeaking a staunchness and scrupulous eye, her works are artful and refined, yet always maintain a close proximity to the outside world, powerfully evoking remembered feelings or memories in relationship to the landscape; they are 'instances of emotion recollected in tranquility' to quote a phrase of Wordsworth's which was so dear to her. Although inextricably linked in their inspiration and materials to her physical surroundings on the outskirts of Canberra, Gascoigne’s achievements nevertheless transcend the provincial to encapsulate a larger, more intangible sense of place that is, paradoxically, ‘both nowhere and everywhere at once.’2 Having eschewed the use of iconography, she favors rather allusion and suggestion to capture the timeless ‘spirit’ of the landscape so that her art ‘may speak for itself’, awakening ‘…associations that lie buried beneath the surface of consciousness; inviting a higher degree of sensitivity and attentiveness to the world around us.’3 With its faded palette of cream, white, taupe and grey, Kaleidoscope, 1994 may be construed as the culmination of a career dedicated to elimination of the unnecessary. In stark contrast to the shimmering black-on-gold Schweppes assemblages for which Gascoigne is so widely acclaimed, here even colour itself is eradicated to focus the viewer’'s attention ever more emphatically upon ‘'presence'’: ‘'You feel the presence. You’ve got to have this presence to make it work.'’4 A highly lyrical, meditative composition from her final years, the work contemplates not so much the materials themselves as their time spent in the landscape - the constantly changing effects created by the uneven erosion of the sawn wooden shards emulating precisely the myriad patterns intimated by its title. Invoking parallels with Zen philosophy in her strict purity of form, concern with ‘presence,’ and humble materials that celebrate ‘the common miracles of the everyday’, indeed Gascoigne'’s art inspires her audience to a more enlightened awareness, reminding us that life is impoverished by the inability to recognise beauty in even the most ordinary, unprepossessing guise. For, as the eye moves through this rhythmic arrangement searching for information and the mind attempts to place different rules of perspective or build upon the suggestion of marks,' ‘in time we realise that the only solution is to stop trying to navigate through the forest of symbols, and enjoy the beauty of the trees.'’5 1. Gascoigne, R., cited in Edwards, D., Rosalie Gascoigne: Material as Landscape, Trustees of the Art Gallery of New South Wales, Sydney, 1998, p. 112. Cameron, D., What is Contemporary Art?, exhibition catalogue, Rooseum, Malmo, Sweden, c.1989, p. 183. McDonald, J., 'Introduction', MacDonald, V., Rosalie Gascoigne, Regaro, Sydney, 1998, p. 74. Gascoigne, R., cited in MacDonald, ibid. p. 385. McDonald, J., op. cit., p. 7VERONICA ANGELATOS

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BRONWYN OLIVER, (1959 - 2006), LICK, c.1991, copper

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Description: BRONWYN OLIVER, (1959 - 2006), LICK, c.1991, copperDIMENSIONS: 230.0 cm lengthPROVENANCE: Roslyn Oxley9 Gallery, SydneyPrivate collection, MelbourneESSAY: '‘When the ideas, the formal elements and the medium all work together, a sculpture will ‘'sing'’ with a kind of rightness. It takes on a life, a presence, which is removed from this world. It belongs to a mythical other life, without a place in time.’'1 One of Australia'’s most highly acclaimed and innovative sculptors, Bronwyn Oliver remains celebrated for her extraordinary ability to produce meticulously articulated works of immense beauty and grace that unite timeless, organic forms of the natural world with the abstract logic of geometry. As writer Hannah Fink poignantly observed upon the artist'’s untimely passing in 2006, '‘Bronwyn Oliver had that rarest of all skills: she knew how to create beauty. She was modest, yet utterly sure of her vision, secure in the confidence of her originality. Her art was fully resolved - perfect, really - and she stands alone in the annals of Australian art history. There was no-one like her: she invented her own deeply intelligent form, and entered fully into the world that it opened out to her...'2Simple yet complicated, fragile yet strong, eccentric though at the same time oddly straightforward, Lick, 1991 is a consummate example of Oliver'’s delicately woven copper and bronze assemblages that universally surprise and inspire - beguiling both the eye and the mind through their enigmatic presence and mesmerising tactility. Bearing strong stylistic affinities with other horizontal sculptures by the artist, including Curlicue, 1991, Inscription, 2000, Idiom, 2001 and Trace, 2001 (National Gallery of Australia, Canberra) - all of which mimic the stroke of a pen as it scrawls text across a page - Lick features a similarly lyrical, rhythmic form, as intimated by its title. Alluding to the quick movement of a tongue or more metaphorically, the hasty application of paint with a brush, indeed the organic sculptural form seems to possess a life force of its own, a fluid energy that derives from the painstakingly manipulated twists and welds of pliant copper which repeatedly coil and recoil to create the ‘weave’ microstructure that is the hallmark of Oliver’'s art. Integral to this duality between that which is immobile and inert, yet also active and dynamic, are the intricate shadows cast by Oliver’s sculpture - an optical aspect so fundamental to the formalist geometry of the work that at times the shadow itself almost becomes more powerful… becomes the object. As Natasha Bullock, elucidating precisely this interplay, observes ‘…'in the exchange between these aspects, Oliver’'s sculpture suggests a passage from one place to another, a journey from a material dimension into an imaginative other world.'’3 Elegant and refined, Lick exemplifies well Oliver'’s unique legacy of beauty and wonder, strength and life - her skillful mastery of form, space and material to create flawless sculptural works that, although unmistakably contemporary in their construction, simultaneously betray a timeless, ethereal quality that resonates deeply with the human soul. 1. The artist cited in Sturgeon, G., ‘Bronwyn Oliver’, Contemporary Australian Sculpture, Craftsman House, Sydney, 1991 p. 742. Fink, H., catalogue essay for Bronwyn Oliver (1959 - 2006), Roslyn Oxley9, Sydney, 10 August - 2 September 2006, n.p.3. Bullock, N., in Bond, A. and Tunnicliffe, W., (eds.), Contemporary: Art Gallery of New South Wales Contemporary Collection, Art Gallery of New South Wales, Sydney, 2006, p. 326VERONICA ANGELATOS

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AKIO MAKIGAWA, (1948 - 1999), UNTITLED, 1999, stainless steel

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Description: AKIO MAKIGAWA, (1948 - 1999), UNTITLED, 1999, stainless steelSIGNED: signed with initials, dated and numbered at base: AK 10 / 1999 / 1/3DIMENSIONS: 60.0 cm heightPROVENANCE: Private collection, MelbourneBonhams and Goodman, Melbourne, 23 April 2007, lot 680Private collection, MelbourneLITERATURE: Cooper, J., Akio Makigawa, Macmillan Art Publishing, Melbourne, 2014, cat. 150 (illus.)ESSAY: Monumental in its stillness and poise, Untitled, 1999 is a key work from Akio Makigawa's series on the theme of ‘beginning’ and the genesis of life. Makigawa embraced and explored the allegorical and communicative possibilities of a range of materials, most notably stone and stainless steel. Enchanted by the '‘honesty to materials'’1, Makigawa ingrained in his sculptural work both spiritual presence and structural formality. Tapping into the emotive power of the seed form in its implicit youthfulness and promise, Untitled reflects on the amalgamation of the organic and the machine. ‘'I am looking at the organic and mechanical sides, machine-like. I live in the city and buildings go up. They can grow by emerging or being dropped onto a site by a crane. I am thinking that both ideas, organic and mechanical, can be put together.'’2 Deconstructing the seed to its fundamental geometrical form invites the viewer to see this duality - a motif expressed repeatedly in Makigawa’s later works. Untitled achieves a pensive tranquillity within the raw power of stainless steel. Teetering on a point, the seed’'s smooth and echoed edges are an excellent example of the artist’s characteristic rhythm, enabling the forms to reach a weightless equilibrium. In the same vein as Brancusi, Makigawa embraced notions of the multiple - a reproduction of forms in fluctuating scales and materials. Such an approach liberated the artist from the physical and technical production of a work, allowing him to divert his energy into the lyrical and intangible treatment of the same few forms. Makigawa delighted in the ability to develop an idea organically, turning over his conceptual development to the forces of time. '‘If I think more, maybe I'’ll get a better idea. Time sometimes makes decisions for me.'’3 The artist returned repeatedly to elemental forms including fire, clouds, seeds and vessels, each multiple skilfully imbued with distinct, self-assured charisma. His mature works pay homage to Brancusi, not only in the notion of multiples, but also in their recognition of a sculpture’s base and its ability to independently expand the potential of a work. The basic geometric forms and symmetry of Brancusi’'s Endless Column, 1918 inspired Makigawa'’s pursuit for the timeless and universal symbology achieved in Untitled. Today, sculptures by Makigawa can be found in several state and regional collections including the National Gallery of Australia, Canberra and National Gallery of Victoria, Victoria, complimented by acclaimed public commissions including Time and Tide, 1994 which stands at the Melbourne City Town Hall. Produced in the same year as his untimely passing, Untitled is an outstanding summation of Makigawa’'s oeuvre, demonstrating his masterful treatment of materials and elemental themes. 1. Capon, E., ‘Foreword’ in Cooper, J., Akio Makigawa, Macmillan Art Publishing, Melbourne, 2013, p. 1042. Cooper, J., Akio Makigawa, Macmillan Art Publishing, Melbourne, 2013, p. 4943. Ibid., p. 495MELISSA HELLARD

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DALE FRANK, born 1959, STEPHEN DORFF, 2000, varnish and synthetic polymer paint on canvas

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Description: DALE FRANK, born 1959, STEPHEN DORFF, 2000, varnish and synthetic polymer paint on canvas DIMENSIONS: 260.5 x 200.0 cmPROVENANCE: Anna Schwartz Gallery, MelbournePrivate collection, MelbourneESSAY: Presenting a tactile, ultra-reflective and immersive surface in which to view oneself, Dale Frank'’s monochrome paintings are more than just seductive pictures. By implicating the viewer into the artwork, Frank transcends the physical limits of the traditional canvas and allows his artworks to exist in an infinite array of visual possibilities. The artist’'s monochrome, painterly artworks of the early 2000s, of which Stephen Dorff, 2000 is a prime example, explore the materiality of painting with unfettered stylistic freedom. They display the artist’'s gestural delight in the viscosity of his varnish paint, applied with all-over approach reminiscent of early 20th century European avant-garde, New York Abstract Expressionism and Colour Field painting. Frank’'s paintings of this period do not portray a visual reality, instead they draw attention to the very act and process of painting, the means and materials through which contemporary painters interact with the world. Limiting possible interpretations of intention and meaning, Frank encourages a visceral and tactile appreciation of the painted surface, appealing to the almost erotic attraction to its glossy, wet surface. The invitingly warm Stephen Dorff and other paintings from this series were created by a careful orchestration of paint poured onto the canvas. Critic Christopher Chapman, writing in the 2008 monograph So Far: The Art of Dale Frank 2005-1980, described Frank'’s act of painting as a conceptual one, intricately associated with time-based performance art.1 Due to its thickness and density, Frank'’s paint continued to ooze and solidify long after the artist had ceased to intervene. Leaving behind the convoluted narrative titles of the his earlier works, Frank’'s paintings of the early 2000s bear remarkably succinct titles, primarily names of young male celebrities: Aaron Eckhardt, Balthazar Getty, Jake Gyllenhaal and Josh Hartnett. For the artist, these were ‘actors who 'achieved a coolness or sexual allure, or young actors who achieved star status in a brief period then disappeared, transforming the paintings into a type of psychological portrait’.'2 The American actor Stephen Dorff had released in 1998 an action-packed blockbuster film, Blade, and the year this painting was created starred in the cult black comedy Cecil B. Demented loosely adapted from the story of Patty Hearst’'s 1974 kidnapping. For the artist, the fleeting nature of fame for these young men became an apt metaphor for the transient nature of his own artistic practice, shaped by physical gesture enacted by the artist and by the viewer. So far, Dale Frank has had a long and diverse career, from a precocious debut in 1975 to a major retrospective show in 2000 at the Museum of Contemporary Art, Sydney, Ecstasy: twenty years of painting. Frank is a singular and anarchic force in the arena of Australian painting. Informed by his unique interaction with the medium itself, Frank dexterously pushes the physical boundaries of painting, eloquently engaging with its theory, bearing all the while little regard for passing fashions. 1. Chapman, C., ‘Dale Frank: Performance Into Painting’, So Far: The Art of Dale Frank 2005 - 1980, Schwartz City, Melbourne, 2008, p. 3382. Frank, D., email exchange with Chapman, C., quoted in ‘Dale Frank: Performance Into Painting’, So Far: The Art of Dale Frank 2005 - 1980, Schwartz City, Melbourne, 2008, p. 340LUCIE REEVES-SMITH

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