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Works from the Donald Friend Collection incl. Bali & SE Asia

by Deutscher and Hackett

Platinum House

242 lots with images

October 27, 2013

Live Auction

Paddington Town Hall

Corner of Oxford Street & Oatley Road

Paddington, 2021 Australia

Phone: +61 02 9287 0600

Fax: +61 02 9287 0611

Email: info@deutscherandhackett.com

242 Lots
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DONALD FRIEND - SELF PORTRAIT, 1937

Lot 1: DONALD FRIEND - SELF PORTRAIT, 1937

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Description: SELF PORTRAIT, 1937 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper Surviving works from Friend's early period in England are rare. This may be due to the fact that he found London on the whole an uninspiring city; 'foully cold' with tiny rooms in which he would sit with little money and a sinking heart. However he did eventually meet a crowd of artists and musicians at Mme Beulah's cafe in Fitzroy Street [Fitzrovia] and developed the kind of bonhomie that would become typical of his artistic life in Sydney. The inscription on this drawing probably refers to one of his associates of this time in London, before he departed for Africa in the following year. He described himself in a letter to his mother from London, dated December 13th (1936): 'My figure is much the same - slim and what-not - my hair is long and my eyes are wild like a poet's. My mouth still express[es] the insatiably erotic desire for insatiability, and my brows have lost none of their fine curve.'1 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 30 SIGNED: signed, dated and inscribed vertically upper right to lower right: To Connie. / Donald Friend. / September / 1937. inscribed on label verso: SELF PORTRAIT 1937 / DONALD FRIEND DIMENSIONS: 15.0 x 12.5 cm EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 1, p. 30 (illus.)

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DONALD FRIEND - FIGURE STUDY WITH NATIVES, c1936

Lot 2: DONALD FRIEND - FIGURE STUDY WITH NATIVES, c1936

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Description: FIGURE STUDY WITH NATIVES, c1936 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: watercolour on paper SIGNED: signed and inscribed upper right: Donald / L.C.C. West Minster School / England DIMENSIONS: 54.0 x 36.5 cm

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DONALD FRIEND - LAGOS STREET, FAFIJTJI, NIGERIA, 1937

Lot 3: DONALD FRIEND - LAGOS STREET, FAFIJTJI, NIGERIA, 1937

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Description: LAGOS STREET, FAFIJTJI, NIGERIA, 1937 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper SIGNED: signed, dated and inscribed lower left: Lagos street. Fafijtji. Nigeria. / Donald. 37. DIMENSIONS: 21.5 x 34.5 cm

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DONALD FRIEND - YORUBA CHILDREN, 1939

Lot 4: DONALD FRIEND - YORUBA CHILDREN, 1939

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Description: YORUBA CHILDREN, 1939 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper SIGNED: signed and dated lower left: Donald 39 inscribed upper right: Yoruba / Children DIMENSIONS: 34.5 x 21.5 cm

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DONALD FRIEND - RECLINING NATIVE BOY, NIGERIA, 1939

Lot 5: DONALD FRIEND - RECLINING NATIVE BOY, NIGERIA, 1939

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Description: RECLINING NATIVE BOY, NIGERIA, 1939 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: watercolour and ink on paper SIGNED: signed and dated upper right: Donald, '39, / Nigeria DIMENSIONS: 34.5 x 43.0 cm

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EGUNGUN HEADDRESS - YORUBA, NIGERIA, early 20th century

Lot 6: EGUNGUN HEADDRESS - YORUBA, NIGERIA, early 20th century

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Description: YORUBA, NIGERIA, early 20th century EGUNGUN HEADDRESS MEDIUM: wood painted black, yellow and red, in the form of a human head with a small drum above the forehead, and large stylised ears, each carved with motifs of a lizard and crown, with a carved lizard figure on the back of the head between the stylised ears DIMENSIONS: 51.5 cm height PROVENANCE: Collected by Donald Friend in Nigeria, 1938-39 RELATED WORKS: Two very similar works are 'Yoruba Headdress (Egungun)', 19th-20th century, wood, pigment, iron nails, 40.6 cm height (accession number 1979.206.192), and 'Yoruba Helmet Mask (Egungun)', 19th-20th century, wood, pigment, 40.3 cm height (accession number 1987.448.2), collection of the Metropolitan Museum of Art, New York

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DIVINATION SCULPTURE - YORUBA, NIGERIA, early 20th century

Lot 7: DIVINATION SCULPTURE - YORUBA, NIGERIA, early 20th century

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Description: YORUBA, NIGERIA, early 20th century DIVINATION SCULPTURE MEDIUM: lidded wooden vessel carved with intricate designs in the form of a woman holding a chicken These bowls are used to hold kola nuts as offerings of hospitality or as receptacles for the sixteen sacred palm nuts used in divination. DIMENSIONS: 65.0 cm height PROVENANCE: Collected by Donald Friend in Nigeria, 1938-39 RELATED WORKS: Bowl', Yoruba, Nigeria, acquired 1960, accession number 90.2/ 3331 AB, collection of the American Museum of Natural History, New York

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DONALD FRIEND - STANDING WARRIOR, c1939

Lot 8: DONALD FRIEND - STANDING WARRIOR, c1939

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Description: STANDING WARRIOR, c1939 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: bronze Friend's African manuscript indicates that he researched the history and techniques of Benin bronze work of Nigeria quite extensively, and these small sculptures cast through the lost-wax method reflect his interests of the time. The Yoruba people of Ikerre were known particularly for their beautifully carved fetishes, a number of which Friend collected, and which became amongst his most cherished possessions. However he deplored the vulgarisation of the ancient crafts of West Africa and hoped that they might be revived through new designs: 'The brassworkers now turned from the making of plaques which they had lost the skill to produce, to making stiff and stilted copies of the old heads - poorly cast affairs with mounds of ornamental headdress dwarfing the little simple face depicted with salutary negligence. And then ashtrays - the final degradation - and putrid petty knicknacks that Hausa [British soldiers] men hawk all over the country for a few bob a time. These find a fairly ready market among the Europeans, who, having at last reduced an art to trash, like it that way. This is a depressing history to give. Yet there is hope for a rebirth of craft and new designs.'1 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 35 DIMENSIONS: 20.0 cm height EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 9, p. 35 (illus.)

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DONALD FRIEND - FIGURE RIDING, c1939

Lot 9: DONALD FRIEND - FIGURE RIDING, c1939

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Description: FIGURE RIDING, c1939 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: bronze DIMENSIONS: 13.5 cm height EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 6, p. 35 (illus.)

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DONALD FRIEND - FIGURE ON HEAD, c1939

Lot 10: DONALD FRIEND - FIGURE ON HEAD, c1939

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Description: FIGURE ON HEAD, c1939 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: bronze DIMENSIONS: 22.0 cm height EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 7, p. 35 (illus.)

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DONALD FRIEND - TWO SEATED FIGURES, c1939

Lot 11: DONALD FRIEND - TWO SEATED FIGURES, c1939

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Description: TWO SEATED FIGURES, c1939 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: bronze DIMENSIONS: 13.0 cm height EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 8, p. 35 (illus.)

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DONALD FRIEND - CHARLIE SAILOR, 1941

Lot 12: DONALD FRIEND - CHARLIE SAILOR, 1941

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Description: CHARLIE SAILOR, 1941 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper When Friend left home in 1932 he travelled north to Queensland, jumping 'rattler' trains and making his way, living the existence of a hobo, to Cairns. Here he found his first real experience of the alternative cultures that would continue to entrance him throughout his lifetime. At Malaytown in Cairns he became adopted by the Sailor family, whose patriarchal head was Charlie, portrayed in this drawing. The Sailor family were Torres Strait Islanders who worked pearling luggers between Cairns and Thursday Island, and who treated the artist as one of their own. After leaving West Africa at the end of 1939, following the declaration of war in Europe, Friend stayed with them again until early 1942, when he returned to Sydney and joined the army.1 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 39 SIGNED: signed, dated and inscribed upper right: Donald. 41 / Tifé Watea: / Charlie Sailor. DIMENSIONS: 36.0 x 26.5 cm EXHIBITED: Retrospective Exhibition to celebrate his Sixtieth Year as an Artist, Holdsworth Galleries, Sydney, 18 March - 26 April 1975, cat. 16 Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 13, p. 39 (illus., as 'Tifé Watea: Charlie Sailor')

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DONALD FRIEND - GUITAR PLAYERS, 1941

Lot 13: DONALD FRIEND - GUITAR PLAYERS, 1941

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Description: GUITAR PLAYERS, 1941 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper SIGNED: signed and dated upper right: Donald, Oct '41 DIMENSIONS: 26.5 x 35.5 cm

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DONALD FRIEND - BOY EATING A MANGO, 1941

Lot 14: DONALD FRIEND - BOY EATING A MANGO, 1941

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Description: BOY EATING A MANGO, 1941 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper SIGNED: signed, dated and inscribed upper right: Donald '41 / Boy eating a mango. DIMENSIONS: 35.5 x 26.5 cm

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DONALD FRIEND - MALAY TOWN, CAIRNS, 1942

Lot 15: DONALD FRIEND - MALAY TOWN, CAIRNS, 1942

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Description: MALAY TOWN, CAIRNS, 1942 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: oil on board Donald Friend's connection with Malay Town in Cairns goes back to 1932 and his early determination to be an artist. Rebelling against his grazier father's wishes for him to follow in his footsteps, Friend ran off to North Queensland, where he joined up with the Torres Straits Islander family of Charlie and Umma Sailor and their son Titien. Virtually adopted as one of them, he joined their pearling luggers working between Cairns and Thursday Island. The free life appealed. 'He delighted in their company, their physical energy and joy of life... From childhood he had fed his imagination with tales of Arabian nights and exotic realms, and at Thursday Island he found a place that matched these dreams.'1 It was the beginning of a lifelong attraction to people of exotic cultures. As Barry Pearce put it, Friend preferred 'mixing with people who seemed to move to some pulse of life beyond the ken of Europeans'.2 After sojourns in London, Lagos and Ikerre in Nigeria, Friend only returned to Australia in 1940 - because of the outbreak of war. As the city life of Sydney palled, he escaped again to Malay Town and the Sailor family. The 1942 paintings, Malay Town, Cairns; Trader (once in the collection of Jacqueline Crookston, Sydney); and Cairns Store (Art Gallery of New South Wales, Sydney) all belong to this time. It was a brief, idyllic period, cut short by military service and later twelve months as an official war artist. Malay Town, Cairns, together with the other two paintings, are redolent with the relaxed lifestyle of Cairns, blended with Friend's incomparable wit. In Trader, with its idiosyncratic animalistic decorations atop the thatched roof, the name 'D. FRIEND/TRADER' is painted proudly across the doorway. Significantly, nobody is at work, ease and indulgence in the pleasure of doing nothing being paramount. The individuality of these figures continue in Cairns Store, where likewise everything is relaxed - even what might seem to be work is not taken too strenuously. And the sensuous colours are of edible delight. Malay Town, Cairns is an engaging casual jumble. The rhythm of life pulses equally through the houses on stilts as the surrounding landscape, each taking on its own animated force. Even the trees metamorphose into objects of curiosity - both in appearance and by their inquisitive action. The native bird to the left quizzically observes the group of three people, posed as if for a painted remembrance. Friend must have found it hard to leave all this behind. Generously, he left us this and other paintings for the enjoyment of those who want to get away from it all! 1. Gray, A., (ed.), The Diaries of Donald Friend, National Library of Australia, Canberra, 2002, Canberra, vol.1, p. xxii 2. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 10 DAVID THOMAS SIGNED: signed and dated lower right: Donald. 42 DIMENSIONS: 45.0 x 64.0 cm EXHIBITED: Exhibition of Paintings by Donald Friend, Macquarie Galleries, Sydney, 20 May - 1 June 1942, cat. 7 (as 'Malaytown, Cairns')

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DONALD FRIEND - THE DEAD, LABUAN, BORNEO, 1945

Lot 16: DONALD FRIEND - THE DEAD, LABUAN, BORNEO, 1945

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Description: THE DEAD, LABUAN, BORNEO, 1945 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and watercolour on paper 'Donald Friend accompanied the Australian forces which landed on the island of Labuan, off the coast of Borneo, in June 1945. The first drawings Friend produced on Labuan depicted the devastated landscape, the troops and the native people. By late June he had made his first studies of the bodies of Japanese soldiers, who had been killed when they infiltrated the harbour area. These drawings included simple pen and ink works showing tangled piles of bodies and a coloured drawing of two bodies, on and under a table like structure. Friend also drew quick studies of the bodies of the last large party of Japanese encountered on Labuan, depicting them laid on and around a makeshift platform. These drawings became part of a larger coloured work entitled 'Nature morte (Still life)' and together they form the basis of this large painting he produced after his return to Sydney in October 1945. 'Japanese dead from suicide raid' was painted in November 1945 while Friend was staying with Drysdale, and aspects of the picture show the influence the two artists had on each other. The work shows a twisted sinuous jumble of dead bodies lying on top of and below a large sheet of metal. The mainstays of Friend's art are the male body and an interest in colour and decorative composition. This work incorporates these elements creating a sensual image, despite its gruesome subject. A related painting of the same title, created in 1946, is part of the Newcastle Region Art Gallery collection.'1 1. Australian War Memorial, Canberra, http://www.awm.gov.au/collection/ART22857/, accessed 25 September 2013 SIGNED: signed, dated and inscribed upper left: The Dead, Labuan. / July 26th '45 / Donald Friend DIMENSIONS: 30.5 x 41.0 cm RELATED WORKS: Japanese dead from suicide raid, Labuan', 1945, oil, pen and black ink on canvas, accession number ART22857, collection of the Australian War Memorial, Canberra

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DONALD FRIEND - YOUTH, DEATH AND THE MAIDEN, 1949

Lot 17: DONALD FRIEND - YOUTH, DEATH AND THE MAIDEN, 1949

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Description: YOUTH, DEATH AND THE MAIDEN, 1949 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper ... The influences and pressures which crowd on a painter's first visit to Italy are so numerous that it is impossible to single them out with much chance of accuracy. What seized Friend was the total environment, a steam-bath of art, where the cinema round the corner from his flat in Florence had faded Ucello frescoes, and he picked up his models cavorting on a sand-bar in the river beneath the magnificent church of the Carmine. But under the influence of Donatello, whose work he closely studied in Florence, Friend's drawings of the nude developed spectacularly: Youth, Death and the Maiden, 1949, is to my mind the most perfect and compressed image of the nude ever drawn by an Australian artist, and certainly one of the dozen finest works of Friend's career.1 1. Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 62 SIGNED: signed, dated and inscribed lower left: Donald. '49. / Firenze. DIMENSIONS: 47.0 x 30.0 cm EXHIBITED: Retrospective Exhibition to Celebrate his Sixtieth Year as an Artist, Holdsworth Galleries, Sydney, 18 March - 26 April 1975, cat. 37 Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) LITERATURE: Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 63 (illus.) Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 43, p. 65 (illus.) Britain, I. (ed.), The Donald Friend Diaries, Chronicles and Confessions of an Australian Artist, Text Publishing, Melbourne, 2010, p. 201 (illus.)

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DONALD FRIEND - A DROWNING MAN'S VIEW OF FLORENCE, c1949

Lot 18: DONALD FRIEND - A DROWNING MAN'S VIEW OF FLORENCE, c1949

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Description: A DROWNING MAN'S VIEW OF FLORENCE, c1949 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: oil on canvas on composition board Donald Friend first visited Italy in 1949, enjoying in particular the early Renaissance art, especially the wondrous treasures offered by the city of Florence on the River Arno. Overwhelming at any time, their first sight is like a flood. As Robert Hughes said of Friend's experience: 'A young painter who has not been to Italy before arrives there; he goes, let us say, to Florence, and he is swamped. There is so much to take in, and he becomes a mass of ecstatic confusion.'1 Friend's response in paint was A Drowning Man's View of Florence, c1949, divided into sections, of rounded or pointed arches and rectangles, peopled with activities as numerous and varied as the city had to offer. Overall, it looks something like an altarpiece from that time when the International Gothic style was giving way to the early Renaissance, yet remaining entirely modern. While the banqueting table would have been a familiar Renaissance sight, an airplane flying overhead was not. Death embraces the maiden, a dog howls under a crescent moon, a centaur emerges from classical mythology, and wine is drunk. Of all the busy little vignettes, the loving embrace is the most frequent. The viewer is flooded with the images of his experience of this hot house of art and way of life, almost without rival. Perhaps, above all else, early Renaissance Florence is the unrivalled place to study the human figure - for sculpture from the hands of Donatello in bronze and marble; and in painting the tactile marvels of Masaccio. It was this young genius, who even Leonardo and Michelangelo visited at the Brancacci Chapel to see his frescoes, and draw the figure after him. Friend's drawing of the male figure gained much during his visit, seen immediately in the masterly pen, ink and wash, Youth, Death and the Maiden of 1949, and witnessed in his many splendid works thereafter. The subject of A Drowning Man's View of Florence was important to Friend for he painted a second, slightly smaller version (private collection), which was included in his retrospective exhibition held at the Art Gallery of New South Wales in 1990. Some images are repeated; others include Bacchus the Roman god of wine, singing birds, and a fountain. The horse to the right might have stepped straight out of a painting by the Florentine Paolo Uccello, whose love of perspective rivalled even that of his wife. 1. Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, pp. 61-62 DAVID THOMAS DIMENSIONS: 59.0 x 59.0 cm LITERATURE: Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 17 (illus.) RELATED WORKS: A Drowning Man's View of Florence', 1949, oil on composition board, 59.5 x 48.4 cm, private collection, illus. in Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 63

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DONALD FRIEND - ATTILIO, 1950

Lot 19: DONALD FRIEND - ATTILIO, 1950

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Description: ATTILIO, 1950 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink, wash and pastel on paper SIGNED: signed, dated and inscribed lower right: Donald Friend '50 / Hill End inscribed lower left with Dante love poem DIMENSIONS: 31.0 x 47.5 cm EXHIBITED: Exhibition of Drawings, Macquarie Galleries, Sydney, 22 November - 4 December 1950, cat. 8 Retrospective Exhibition to Celebrate his Sixtieth Year as an Artist, Holdsworth Galleries, Sydney, 18 March - 26 April 1975, cat. 44 Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) LITERATURE: Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 23 (illus.) Hawley, J., 'The bitter feud of Donald Friend and friend', Good Weekend: The Sydney Morning Herald, 29 October 1988, p. 53 (illus.) Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 48, p. 70 (illus.)

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DONALD FRIEND - THE STUDIO IN FLORENCE, 1949

Lot 20: DONALD FRIEND - THE STUDIO IN FLORENCE, 1949

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Description: THE STUDIO IN FLORENCE, 1949 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink on paper SIGNED: signed, dated and inscribed lower right: The Studio in Florence / Donald Friend / '49 DIMENSIONS: 30.5 x 48.0 cm

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DONALD FRIEND - ROLANDO, FLORENCE, 1949

Lot 21: DONALD FRIEND - ROLANDO, FLORENCE, 1949

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Description: ROLANDO, FLORENCE, 1949 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and pen and wash on paper 'Friend had met Aberdeen Goodwin shortly after his arrival in Florence in early June 1949. He and Peter Kaiser had been searching for suitable rooms in which to stay and were eventually led to the studio owned by the young negro. There they were able to live and work for a period. Aberdeen became a reliable friend, and kept in touch with the artist during the period of his return to Australia. When Friend went back to Italy for his second visit in February 1952 he met Aberdeen again, and the artist stayed in his room in Florence, a small cramped space above a house roof, the old studio having been let.'1 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 75 SIGNED: signed, dated and inscribed lower left: Donald '49 / Firenze / Rolando DIMENSIONS: 30.5 x 48.0 cm LITERATURE: Britain, I. (ed.), The Donald Friend Diaries, Chronicles and Confessions of an Australian Artist, Text Publishing, Melbourne, 2010, p. 173 (illus.)

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DONALD FRIEND - THE STUDIO STAIRS, FIRENZE, 1949

Lot 22: DONALD FRIEND - THE STUDIO STAIRS, FIRENZE, 1949

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Description: THE STUDIO STAIRS, FIRENZE, 1949 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper SIGNED: signed, dated and inscribed lower right: The Studio Stairs / Firenze. '49 / Donald Friend DIMENSIONS: 47.5 x 30.5 cm EXHIBITED: Retrospective Exhibition to celebrate his Sixtieth Year as an Artist, Holdsworth Galleries, Sydney, 18 March - 26 April 1975, cat 41 Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 42, p. 64 (illus.)

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DONALD FRIEND - HILL END, THE ROYAL HOTEL AND GENERAL STORE, 1949

Lot 23: DONALD FRIEND - HILL END, THE ROYAL HOTEL AND GENERAL STORE, 1949

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Description: HILL END, THE ROYAL HOTEL AND GENERAL STORE, 1949 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: oil on card The discovery of Hill End in 1947 by Donald Friend and Russell Drysdale was a serendipitous moment in Australian art, inspiring them to new heights, and resulting in iconic works such as Drysdale's masterpiece, The Cricketers, 1948. It all began on a day in August when Drysdale had just bought a new car and Friend, by chance, was reading a newspaper story about the old gold rush towns in the Bathurst region of New South Wales. A trip to Sofala and Hill End satisfied curiosity and helped run in the car. They were fascinated by what they saw, Robert Hughes in his 1965 book on Friend describing Hill End as 'once a boom town with 50,000 wenching, digging, boozing and fortune-hunting inhabitants, now a collection of ruined, overgrown or run-down buildings, with a pub and general store, occupied by a handful of people who lived by fossicking or rabbiting'.1 Within a few weeks of their visit, Friend bought a wattle and daub cottage, the Royal Hotel near by. He enjoyed the local characters as much as the landscape, writing in his diary shortly after his arrival: 'When we returned in the evening Hill End's Saturday drink-fest was in full swing - the bar a Hogarthian scene of peasant drinking and merriment... The bar was very full and so were most of the drinkers.'2 Populating his oeuvre with drawings, watercolours and oils of Hill End, the pub and the store featured both for their picturesque appeal and as places of general meeting - as witnessed by the locals in our painting. The presence of the black dog seated in the main street adds a further touch of the informal, the whole painting redolent with indolence and the laconic lean. In the warmth of a sunny day there are no clouds of significance, real or metaphoric, to trouble the scene, even if the roads appears to fall off the end of the earth once past the rise. The abrupt fall does, however, have a hint of Surrealism, so apparent in Drysdale's The Cricketers and other Hill End works. There was a strong affinity between Friend's and Drysdale's work at this time seen also in the lean and lanky. In later works, such as (Hill End Landscape), c1951 in the collection of the Tasmanian Museum and Art Gallery, Hobart, the unique locale brought out even more the latent Surrealism in Friend's work. By 1949, Friend had been living there long enough to imbue Hill End, The Royal Hotel and General Store with all the local character, found as much in the architecture as in the hatted individuals themselves. 1. Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 56 2. Friend, D., The Diaries of Donald Friend, vol. 2, edited by Paul Hetherington, National Library of Australia, Canberra, 2003, p. 544, entry for 14 September 1947 DAVID THOMAS SIGNED: signed and dated lower left: DONALD 49 DIMENSIONS: 14.5 x 26.0 cm

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DONALD FRIEND - HILL END, c1951

Lot 24: DONALD FRIEND - HILL END, c1951

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Description: HILL END, c1951 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: oil on canvas The name 'Hill End' has a magical appeal, a little like that of the 'Heidelberg School' and its associations with masters of Australian art and their masterpieces. Donald Friend and Russell Drysdale were fascinated by Hill End and Sofala from their very first visit in 1947, both painting a view of the main street of Sofala immediately after their return to Sydney. Drysdale's painting, Sofala, 1947 (Art Gallery of New South Wales, Sydney), won the Wynne Prize for that year, Friend's nigh identical view being in a private collection. While Drysdale's oil of Hill End, 1948 is in the collection of the Geelong Art Gallery, Victoria, and his Picture of Donald Friend, 1948 is also in the Art Gallery of New South Wales, it is above all his The Cricketers, 1948 that gives lustre to the place, the side of the Hill End building against which the locals are having an informal knock being of like kind to the Royal Hotel of cast iron balcony and other proud remnants of the past. Writing about Donald Friend, Robert Hughes commented, 'The surrounding country was beautiful, and the place possessed a kind of elegiac quiet which neither Friend nor Drysdale could resist.'1 When Friend bought his cottage at Hill End, he made sure that the Royal was within easy walking distance. Settling down to paint and draw the landscape, Houses on Big Oakey, 1948 (National Gallery of Australia, Canberra), is a fine example from that time. The place appealed to him so much that he wrote and illustrated the book Hillendiana: 'Comprising vast numbers of facts and a considerable amount of fiction concerning the Goldfields of Hillend [sic]... and a commentary both Grave and Ribald...'2 Friend's presence attracted fellow artists of the quality of Margaret Olley, David Strachan, Jeffrey Smart, and in later years Brett Whiteley. It soon led to the establishment of an artist's colony. Following his Italian visit of 1949-50, Friend returned to Hill End to indulge further in his captivation by its extraordinary, at times surreal landscape. In Hill End, c1951 the eroded forms of Nuggety Gully dominate the foreground, as does the Royal Hotel hold the centre view. Like the townspeople and their buildings, his painted place is packed with character. The scars of the landscape, geometric and sharp edged, interrelate with the architecture, Hill End's rich history captured in the ruins and the presence of time passed. To add to its unique beauty, Friend dressed all in the most beautifully seductive of colours. 1. Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 56 2. Friend, D., Hillendiana, Ure Smith, Sydney, 1956 DAVID THOMAS SIGNED: signed lower right: DONALD FRIEND DIMENSIONS: 30.0 x 40.0 cm RELATED WORKS: Hill End Landscape', c1951, oil on wood, 44.4 x 59.6 cm, private collection, illus. In Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 52

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DONALD FRIEND - GODS VISIT THE SELF PORTRAITIST (FLORA, AMOR, BACCHUS AND FAUN) 1954, c1970-75

Lot 25: DONALD FRIEND - GODS VISIT THE SELF PORTRAITIST (FLORA, AMOR, BACCHUS AND FAUN) 1954, c1970-75

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Description: GODS VISIT THE SELF PORTRAITIST (FLORA, AMOR, BACCHUS AND FAUN) 1954, c1970-75 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: oil on canvas-board Donald Friend's oeuvre is rich in subject pictures - allegorical, historical, witty and satirical, often pulsating with a Hogarthian rumbustiousness. In Australian legend viewed from a contemporary standpoint, none has quite the humour and bite of The Apotheosis of Ned Kelly, 1946 - of Ned Kelly received into Heaven by ratbags, a general, a bishop and a bull. All is covered by the protective wings of the white dove of peace - carrying in its claws an atomic bomb. For St Patrick's Night, Sally's Flat, 1948, the boisterous scene of revelry recalls a watercolour or two of S.T. Gill's lively scenes of life on the goldfields. And again in 1948, for Love Me Sailor, 1948, Friend turned to Hieronymus Bosch to inspire his painting with fantastic creatures who could have wandered out of his triptych, The Garden of Earthly Delights, c1504. They are presided over by a judge, a scarlet-robed frog as self-important as Toad of Toad Hall. The satirical impulse was never far away in Friend's art, extroverted and often boisterous, full of figures, beer and wine. Of the Hill End allegorical fantasies, Gods Visit the Self Portraitist (Flora, Amor, Bacchus and Faun) 1954, c1970-75, digs deeper into the personal side. Set within the Hill End landscape, it brings together many of those pleasures of life that appealed to Friend, raising his Antipodean Garden of Eden to Elysian heights. The visiting deities are from the Roman pantheon - Flora, goddess of flowers and gardens, who also had connections with a celebrated Roman courtesan by that name; Amor, the son of Venus, was god of love; and Bacchus god of wine and related good times. The festivals of Bacchus were, of course, usually called Orgies or Bacchanals. In our painting, the wine barrel advertises its contents as 'Mudgee Wine', a glass of which is enjoyed by the very god himself. As the garlanded Flora spreads floral beauty as if from a painting by Botticelli, the winged and fair-haired Amor reaches across the barrel to kiss the figure of Bacchus, identified as Friend's one-time young Italian lover, Attilio Guarracino. Friend had met Guarracino, the son of an Ischian fisherman, in 1950. Returning to Hill End in September, their volatile relationship foundered after a few months and Guarracino left.1 To the right of the composition, Friend gives the dark figured Faun the mirror to hold so that he, the simian self portraitist can capture the illusion of reality on the painted canvas.2 The skull reflected in the mirror (truth and mortality) is translated into the outer appearance, the persona, the mask, the self portrait being an act of self revelation. As ever, Friend's images are painted in colours of ravishing beauty. 1. Bacchus/Guarracino holds a goat under his left arm. As the goat was the animal usually sacrificed to Bacchus, one can only guess at what Friend had in mind. 2. The Faun is a rural deity, usually presented as human figured with a goat's horns, legs and tail, identified with the Greek god Pan, given to terrifying the local inhabitants and providing us with the word 'panic'. DAVID THOMAS SIGNED: signed lower left: DONALD FRIEND inscribed on label verso: Gods visit the self portraitist./ ((Flora, Amore, Bacchus & Faun)) / Donald Friend, / for Attilio. / (Note: The Talented Ape is / left handed. The background / shows my old cottage & the Royal Hotel / etc at Hill End, in N.S.W.) DIMENSIONS: 35.5 x 45.5 cm

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DONALD FRIEND - NEGROES WITH A LUTE, 1953

Lot 26: DONALD FRIEND - NEGROES WITH A LUTE, 1953

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Description: NEGROES WITH A LUTE, 1953 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink, watercolour and gouache on paper Following his rushed visit to Spain in September 1952, Friend returned to London early in October for the opening of his exhibition at the Redfern Gallery at the end of the month. In the meantime he met Omu, an Ibadan boy whom he had first seen at Lapido's house when he was in London two years earlier. The meeting stimulated a period of work which included some of the artist's most beautiful figure drawings: 'These days have been very happy. I have done excellent work - my hand has found a great certainty... Each day Omu comes, poses while I draw, helps me get lunch, amuses me and as it were wraps me in his warm affection, so simple and trusting. Now this I know is exactly that sort of relationship I searched so long for... Perhaps I understand and sympathise more with Africans, in any case I know I shall not be fooled and betrayed' (diary entries 19 and 22 October 1952). Typically, after a few months, Friend's relationship with Omu began to sour with its progressive demand on his finances. However in the few weeks before Omu returned to Africa in May 1953, there was a prolific spate of drawings made of him, and on 15 April Friend recorded, 'I've been painting Omu as Harlequin: very pretty.' Two days earlier Francis Lymburner had visited Friend and also made drawings of Omu. On 25 April Friend wrote: 'My only deep regret comes when I look through my folios and at the walls of the studio where I have pinned up the best of the drawings I have made of him... I am less sorry for him than I am for my intention of banishing his beauty from my pen.'1 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, pp. 80-81 SIGNED: signed and dated lower left: Donald Friend. '53. DIMENSIONS: 54.5 x 45.0 cm EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) Donald Friend, A Charmed Life, National Library of Australia, Canberra, 9 November 2006 - 4 February 2007, final diary launch (volume 4) LITERATURE: Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 58, p. 80 (illus.)

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DONALD FRIEND - OMU, 1953

Lot 27: DONALD FRIEND - OMU, 1953

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Description: OMU, 1953 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink, wash and pastel on paper 'On the whole, he disliked the Londoners, finding them grey, seedy, and mousy; among the whites he was in Orwell territory, a colourless desert of little clerks. But he spent most of his evenings in the jazz cellars and coffee-shops frequented by Negroes, and there he found the vitality he craved: a relaxed, hipster sensuality, totally unaffected, energetic: a tough little enclave of life into which he could move without strain. And the black men were good to draw. "If you draw a negro, especially a West African man, you never catch him posing. Everything they do is natural, not like most white models." '1 1. Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 26 DH1287 SIGNED: signed, dated and inscribed lower left: Omu / Donald Friend '53 DIMENSIONS: 46.5 x 30.0 cm LITERATURE: Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, p. 64 (illus.)

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DONALD FRIEND - HORSE AND CHARIOT, c1963-64

Lot 28: DONALD FRIEND - HORSE AND CHARIOT, c1963-64

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Description: HORSE AND CHARIOT, c1963-64 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: copper ... Friend began to construct sculptural figures from beaten sheet aluminium when he was living in Ceylon, and exhibited a collection of them in Colombo in 1962. During 1963 and 1964, he adapted his technique to sheet copper, and produced a further exhibition of sculptures and fountains. Surprised personages in Greek masks balance on reeling chariots; soldiers, caught leaping in mid-air, pour from the chest of the Trojan horse... the sculptures convincingly trap the movement of a figures, the thrust of an arm or a leg, the sense of rising, falling or plunging in space. They are not so much sculptures, however, as three-dimensional drawings made with copper lines in the air.1 1. Hughes, R., Donald Friend, Edwards and Shaw, Sydney, 1965, pp. 74, 76 DIMENSIONS: 51.0 cm length

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DONALD FRIEND - SELF PORTRAIT IN A CARVED MIRROR, 1972

Lot 29: DONALD FRIEND - SELF PORTRAIT IN A CARVED MIRROR, 1972

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Description: SELF PORTRAIT IN A CARVED MIRROR, 1972 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: pen, ink, watercolour and gouache on paper The idea for this composition, which made use of a Balinese mirror in Friend's collection (see lot 30), probably had its basis in a cartoon sketch in the artist's diary dated August 1972 which carries the following caption: 'The Exhibition - he exposes (himself) his subject (himself) and reveals himself.'1 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 109 SIGNED: signed and inscribed lower left: Carved Mirror / Self Portrait / Donald Friend / Bali DIMENSIONS: 75.5 x 55.5 cm EXHIBITED: Recent Works, Holdsworth Galleries, Sydney, 17 October - 4 December 1972, cat. 38 (as 'Reflections in a Balinese Mirror') Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) Donald Friend, A Charmed Life, National Library of Australia, Canberra, 9 November 2006 - 4 February 2007, final diary launch (volume 4) LITERATURE: Borlase, N., 'Story-book worlds', The Bulletin, Sydney, 28 October 1972 Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 88, p. 109 and front cover (illus.) Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, p. 67 (illus.)

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CEREMONIAL MIRROR - BALI

Lot 30: CEREMONIAL MIRROR - BALI

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Description: BALI CEREMONIAL MIRROR MEDIUM: glass mirror in carved ornate wooded frame, fronted by three steps and flanked by two figures of women holding fans and standing on pedestals, painted in yellow, white, red, blue, green and black, the back with sunray motifs in deep yellow, red and black DIMENSIONS: 50.0 cm height EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 45, p. 38 (illus.) RELATED WORKS: This work features in Donald Friend's 'Self Portrait in a Carved Mirror', c1972 (see lot 29)

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MADE JOJOL (DJODJOL) - WOODEN BOX DEPICTING SCENES FROM DONALD FRIEND'S LIFE TARO, BALI, c1972

Lot 31: MADE JOJOL (DJODJOL) - WOODEN BOX DEPICTING SCENES FROM DONALD FRIEND'S LIFE TARO, BALI, c1972

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Description: WOODEN BOX DEPICTING SCENES FROM DONALD FRIEND'S LIFE TARO, BALI, c1972 MADE JOJOL (DJODJOL) BORN: born c1951, Balinese MEDIUM: carved teak (jati) box, with two attached feet modelled in the form of a lion and a bull. The top depicts the artist and pavilion at Batujimbar with airplane returning to Australia. The front panel shows the arrival of the artist's yellow 1928 Chevrolet with curious local villagers DIMENSIONS: 56.0 cm length EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 84, p. 66 (illus.)

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DONALD FRIEND - THE LAGOON, c1975

Lot 32: DONALD FRIEND - THE LAGOON, c1975

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Description: THE LAGOON, c1975 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: pen, ink, gouache, gold leaf on paper The flat surrounding timber frame was made by Attilio and decorated by the artist. For Donald Friend, Bali was the realization of a dream. His life there became legendary, and much of it was true. In addition to his island paradise, there were solo exhibitions in Paris, an English film crew recorded his sybaritic ways, and the roll call of famed visitors numbered among them Queen Soraya of Persia, Mick Jagger, the Duke of Edinburgh and Gore Vidal. The enchantment of Bali had captured Friend from his first visit. Its spell was so great that he decided to settle, building a house at Batudjimbar on the beach of Sanur. Buildings grew in Friend's adaptation of the Balinese style; houseboys served his various needs, and gardeners tended the gifts of nature. The families of the retinue 'in turn became his family'.1 He even had his own small gamelan, that traditional Balinese musical ensemble with its variety of instruments of metallophones, xylophones, to drums, gongs, bamboo flutes, and strings. Amid all this and his antique collection, he lived 'like a benevolent feudal lord'.2 As a lover of islander life, he embraced its superstitions and moralities, became a collector/scholar of Balinese art and wrote a book on Balinese bronzes. In another book, Donald Friend in Bali published in England in 1972, he wrote of Bali: 'The island itself for years had been a favourite part of my imagination's geography'.3 His passionate embrace of Bali is captured in his own words: 'Pillared bamboo glades shaded charming kampongs. Ducks and geese abounded. There were no discernable signs of the orient's brooding mystery, nor that fantastic melancholic inertia writers tell about. Quite to the contrary - every leaf shimmered green and yellow, quivering with a life that filled one's heart with lightness. Foliage arched over village streets where children scampered out of dappled light into carved doorways, laughed, peered, waved at us. Showers of scarlet flowers flowed from the walls, Ancestor-shrines extended blessings to prosperous houses.'4 In The Lagoon, c1975, Friend responds to this tropical abundance of colour, life, and the physical dignity and attraction of the native peoples. The model, surely one of his houseboys, is drawn with all the masterly skill Friend had at his fingertips, the sensitivity of line and painterly flow matched by the sensitivity of the concept itself. West meets East in the placement of the figure against a backdrop of patterned waters, flowing rhythms of wings and waves, of motifs inspired by the art around him. The illusion of the threedimensional contrasts with the decorative flatness, acting as a metaphor of the differences between the cultures, enriched by the gold leaf of plenitude in celebration of the exotic. 1. Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, p. 17 2. Ibid., p. 148 3. Friend, D., Donald Friend in Bali, Collins, London, 1972, p. 9 4. Ibid., pp. 29-30 DAVID THOMAS SIGNED: signed and inscribed lower right: The Lagoon. Donald Friend. / Bali DIMENSIONS: 69.0 x 47.0 cm EXHIBITED: Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990; National Gallery of Victoria, Melbourne, 14 April - 6 June 1990; and Tasmanian Museum and Art Gallery, Hobart, 26 June - 19 August 1990 (label attached verso) LITERATURE: Hawley, J., 'The bitter feud of Donald Friend and friend', Good Weekend: The Sydney Morning Herald, 29 October 1988, p. 51 (illus.) Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, Sydney, 1990, cat. 95, p. 115 (illus.)

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DONALD FRIEND - MADE BRATA WITH BASKET, BALI

Lot 33: DONALD FRIEND - MADE BRATA WITH BASKET, BALI

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Description: MADE BRATA WITH BASKET, BALI DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink, watercolour and gouache on paper Made Brata was a drinks waiter at Batujimbar SIGNED: signed and inscribed lower right: Boy with a Basket / Donald Friend. / Bali DIMENSIONS: 76.0 x 55.5 cm

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DONALD FRIEND - BALINESE BOY, c1976

Lot 34: DONALD FRIEND - BALINESE BOY, c1976

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Description: BALINESE BOY, c1976 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and watercolour on paper SIGNED: signed and inscribed upper right: Donald Friend / Bali DIMENSIONS: 62.5 x 48.0 cm RELATED WORKS: Boy with Screen Background', 1976, pen and ink, watercolour and gouache on paper, 62.0 x 48.0 cm, collection of the Neka Museum, Bali, illus. in Pearce, B., Donald Friend, 1915-1989: Retrospective, Art Gallery of New South Wales, 1990, p. 113

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DONALD FRIEND - NUDE STUDIES BALI, 1974

Lot 35: DONALD FRIEND - NUDE STUDIES BALI, 1974

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Description: NUDE STUDIES BALI, 1974 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and watercolour on paper SIGNED: signed, dated and inscribed lower left: for Attilio Dec '74, / Nude studies / Donald Friend / Bali DIMENSIONS: 75.0 x 49.0 cm

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DONALD FRIEND - THE NAUTILUS, BUDAL, c1975

Lot 36: DONALD FRIEND - THE NAUTILUS, BUDAL, c1975

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Description: THE NAUTILUS, BUDAL, c1975 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and gouache on paper SIGNED: signed and inscribed lower left: The Nautilus. / Donald Friend. / Bali DIMENSIONS: 62.0 x 47.0 cm

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DONALD FRIEND - BALI, 1975

Lot 37: DONALD FRIEND - BALI, 1975

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Description: BALI, 1975 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: ink and wash on paper SIGNED: signed, dated and inscribed lower left: Donald Friend. / Bali '75 DIMENSIONS: 62.0 x 47.0 cm

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DONALD FRIEND - FISH BOWL

Lot 38: DONALD FRIEND - FISH BOWL

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Description: FISH BOWL DONALD FRIEND BORN: 1915 - 1989 MEDIUM: white glazed bowl with green enamel design SIGNED: signed with intials: DF DIMENSIONS: 13.0 cm diameter

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DONALD FRIEND - BALINESE TRIPTYCH, c1974

Lot 39: DONALD FRIEND - BALINESE TRIPTYCH, c1974

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Description: BALINESE TRIPTYCH, c1974 DONALD FRIEND BORN: 1915 - 1989 MEDIUM: textile applique composed of traditional Balinese batiks on canvas backing Donald Friend designed this work, with sewing by Kathrine Carlisle, wife of the Englishman Chris Carlisle, project manager of Batujimbar. SIGNED: signed with initials lower right: DF DIMENSIONS: 210.0 x 630.0 cm

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TEMPORARY REPOSITORY FOR TEMPLE GODS (ARCA LINGGA) - BALI

Lot 40: TEMPORARY REPOSITORY FOR TEMPLE GODS (ARCA LINGGA) - BALI

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Description: BALI TEMPORARY REPOSITORY FOR TEMPLE GODS (ARCA LINGGA) MEDIUM: wooden offering box carved in the form of a horse with single deity figure, possibly Arjuna (Pratima) painted in red with brown, black and gilt highlights DIMENSIONS: 33.5 cm height EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 43, p. 13 (illus.)

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OFFERING BOX - BALI

Lot 41: OFFERING BOX - BALI

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Description: BALI OFFERING BOX MEDIUM: wood carved in the form of a horse with a pair of male and female deity figures (Pratima), painted in white with red, gilt, blue and black highlights DIMENSIONS: 46.0 cm length PROVENANCE: Purchased from Hans Snel, Bali These figures are temporary repositories for the gods when they descend to earth for temple festivals.

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OFFERING BOX - BALI

Lot 42: OFFERING BOX - BALI

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Description: BALI OFFERING BOX MEDIUM: wood carved in the form of a horse with a pair of male and female deity figures (Pratima), painted in blue with red, gilt, white and black highlights DIMENSIONS: 47.0 cm length PROVENANCE: Purchased from Hans Snel, Bali These figures are temporary repositories for the gods when they descend to earth for temple festivals.

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WINGED DEMONIC FIGURE, WILMANA - BALI

Lot 43: WINGED DEMONIC FIGURE, WILMANA - BALI

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Description: BALI WINGED DEMONIC FIGURE, WILMANA MEDIUM: wood carved in the form of Wilmana, part of a lintel in bale structure, painted in black, red, white, green and yellow DIMENSIONS: 37.0 cm height

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WISNU ON GARUDA - BALI

Lot 44: WISNU ON GARUDA - BALI

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Description: BALI WISNU ON GARUDA MEDIUM: wood with black, white, red, yellow and green paint and gilt highlights DIMENSIONS: 62.5 cm height

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TEMPLE OFFERING BOX (SAJEN) - BALI

Lot 45: TEMPLE OFFERING BOX (SAJEN) - BALI

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Description: BALI TEMPLE OFFERING BOX (SAJEN) MEDIUM: wood carved in the form of a crowned and winged dragon (naga) with the elongated stopper carved in the form of a deity, painted in vermilion with black, blue, white and gilt highlights DIMENSIONS: 47.0 cm height EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 41, p. 14 (illus.)

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FIGURE OF WILMANA - BALI

Lot 46: FIGURE OF WILMANA - BALI

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Description: BALI FIGURE OF WILMANA MEDIUM: wood carved in the form of Wilmana, the vehicle of the demon king Rawana, with red, black, green, yellow and white paint and gilt highlights DIMENSIONS: 78.5 cm height EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 (as 'Figure of Garuda') LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 42, p. 15 (illus., as 'Figure of Garuda')

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SEATED FIGURE - BALI, 1930s

Lot 47: SEATED FIGURE - BALI, 1930s

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Description: BALI, 1930s SEATED FIGURE MEDIUM: Panggal buaya (satinwood) carved in the form of a figure in a cross-legged position, with traces of original black, red and white highlights DIMENSIONS: 41.0 cm height EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 76, p. 56 (illus.)

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STANDING MALE FIGURE - BALI, 1910s-1930s

Lot 48: STANDING MALE FIGURE - BALI, 1910s-1930s

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Description: BALI, 1910s-1930s STANDING MALE FIGURE MEDIUM: Panggal buaya (satinwood) carved in the form of a man wearing ceremonial dress and holding a lontar, with traces of original red, yellow and black highlights DIMENSIONS: 54.0 cm height

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KNEELING FIGURE - BALI, 1930s

Lot 49: KNEELING FIGURE - BALI, 1930s

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Description: BALI, 1930s KNEELING FIGURE MEDIUM: Panggal buaya (satinwood) carved in the form of a commoner wearing a kris at the back, with traces of original white, black and red highlights DIMENSIONS: 37.0 cm height EXHIBITED: Donald Friend's Bali, an exhibition arranged in conjunction with the Donald Friend Retrospective, Art Gallery of New South Wales, Sydney, 9 February - 25 March 1990 LITERATURE: Donald Friend's Bali, Art Gallery of New South Wales and The Beagle Press, Sydney, 1990, cat. 76, p. 56 (illus.)

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PAIR OF STANDING FIGURES - BALI, 1920s-1930s

Lot 50: PAIR OF STANDING FIGURES - BALI, 1920s-1930s

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Description: BALI, 1920s-1930s PAIR OF STANDING FIGURES MEDIUM: wood carved in the form of a man and a woman, painted in black and white with green, red and gilt highlights DIMENSIONS: 46.5 cm and 47.5 cm height RELATED WORKS: These figures are similar in style to 'Wooden statue of a Balinese writer', pre-1933, 75.5 cm height, accession number 809-112, and 'Wooden woman, depicting Rangkeh Sari', pre-1933, 80.0 cm height, accession number 809-113, both collection of the Tropenmuseum, Amsterdam

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