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Upcoming Lots Related to [Arthur Boyd 1920 1999 Shoalhaven] (495 items returned of approx. 2,736 available)

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ARTHUR BOYD, (1920 - 1999), EVENING ON THE SHOALHAVEN - oil on composition board

by Deutscher and Hackett

May 4, 2016, 7:00 PM AEST

South Yarra, Australia

Estimated Price: AUD20,000 - AUD30,000

Description: ARTHUR BOYD, (1920 - 1999), EVENING ON THE SHOALHAVEN - oil on composition board SIGNED: signed lower right: Arthur Boyd DIMENSIONS: 26.5 - 33.0 cm PROVENANCE: Gregson Flanagan Fine Art, Perth, 25 September 1995, lot 74 Private collection, Tasmania

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Live Auction: 4 days 22 hours

Starting bid: AUD18,000 (0 bids)

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD8,000 - AUD12,000

Description: ARTHUR BOYD 1920-1999 Shoalhaven (1982) oil on composition board signed 'Arthur Boyd' lower right 20.5 x 14.5 cm PROVENANCE Private Collection, Sydney Savill Galleries, Sydney (stock 210017) (label verso), acquired from the above

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Live Auction: 10 days 21 hours

Starting bid: AUD7,200 (0 bids)

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD14,000 - AUD18,000

Description: § ARTHUR BOYD 1920-1999 Bride over Shoalhaven oil on paper on board signed 'Arthur Boyd' lower right 24.2 x 27.5 cm PROVENANCE Olsen Irwin Gallery, Sydney (label verso) Savill Galleries, Sydney (stock 610407) (label verso) acquired from the above

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Live Auction: 10 days 21 hours

Starting bid: AUD12,600 (0 bids)

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD90,000 - AUD120,000

Description: § ARTHUR BOYD 1920-1999 Hillside (Shoalhaven) (1976) oil on canvas signed 'Arthur Boyd' lower right 152.3 x 121.6 cm PROVENANCE Fischer Fine Art, London (label verso) Private Collection, Sweden, acquired from the above Savill Galleries, Sydney (stock 610061) (label verso), acquired from the above. EXHIBITED Arthur Boyd: Recent Paintings, Fischer Fine Art, London, 1977, no. 24, illustrated

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Live Auction: 10 days 21 hours

Starting bid: AUD81,000 (0 bids)

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by Sotheby's Australia

May 11, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD80,000 - AUD120,000

Description: ARTHUR BOYD 1920-1999 Jinker on a Sandbank, Shoalhaven (1976) oil on canvas signed 'Arthur Boyd' lower right 91.5 x 122 cm PROVENANCE Private Collection Fine Australian Paintings, Books and Ceramics, Sotheby's Australia, Melbourne, 26 July 1987, lot 396, 'Shoalhaven River, with Jinker Pulled by Swans', illustrated Savill Galleries, Sydney, acquired from the above Private Collection, Sydney EXHIBITED 1888-1988: A Century of Australian Painting, Savill Galleries, Sydney, 21 April - 21 May 1988, no. 50, 'Figure Driving Swans Pulpit Rock circa 1976', illustrated

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Live Auction: 11 days 21 hours

Starting bid: AUD72,000 (0 bids)

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD90,000 - AUD110,000

Description: § ARTHUR BOYD 1920-1999 Shoalhaven (1978) oil on composition board signed 'Arthur Boyd' lower right 61 x 46 cm PROVENANCE Blue Boy Gallery, Melbourne Private Collection, Melbourne, acquired from the above Private Collection, Melbourne, by descent from the above Important Australian Art, Sotheby's Australia, Sydney, 31 August 2010, lot 6, illustrated Savill Galleries, Sydney (stock 610006) (label verso), acquired from the above EXHIBITED Celebrated Australian Artists, Savill Galleries, Sydney, 23 October - 14 November 2012, no. 2, illustrated Arthur Boyd, Savill Galleries, 2-30 September 2014, no. 26, illustrated. Breaking History: Denis Savill, Savill Galleries, Sydney, 21 October - 13 November 2015, no. 25

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Live Auction: 10 days 21 hours

Starting bid: AUD81,000 (0 bids)

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ARTHUR BOYD, (1920 - 1999), SHOALHAVEN; HILLSIDE WITH ROCKS AND MAN IN BOAT, oil on composition board

by Deutscher and Hackett

May 4, 2016, 7:00 PM AEST

South Yarra, Australia

Estimated Price: AUD50,000 - AUD70,000

Description: ARTHUR BOYD, (1920 - 1999), SHOALHAVEN; HILLSIDE WITH ROCKS AND MAN IN BOAT, oil on composition board SIGNED: signed lower right: Arthur Boyd DIMENSIONS: 122.0 - 91.0 cm PROVENANCE: Wagner Art Gallery, Sydney Sotheby's, Melbourne, 26 November 2001, lot 21 Company collection, Sydney Private collection, New South WalesESSAY:In the early 1970’s, as Arthur and Yvonne Boyd looked towards returning to Australia to live, they fell in love with the Shoalhaven River on the New South Wales south coast. They bought one, and then a second adjoining property with the intended result of preserving a large area of natural bushland for generations to come. This represented a symbolic reclaiming of his homeland following the redevelopment in Victoria of the land which had been home to the Boyd’s for generations. On the Shoalhaven River Boyd immersed himself in the landscape and created a body of work which reflected not only his relationship with the Australian landscape, but importantly the artists who depicted it. Perhaps the clearest influence in Boyd’s Shoalhaven work is that of Tom Roberts. The manner in which Boyd depicts the rocky hillsides, with their midday shadows tucked tightly beneath the rocks, is distinctly reminiscent of Tom Roberts’ New England paintings of the 1890’s. Writing in The Artist and The River, Sandra McGrath describes his influences more broadly... 'While Boyd in general chooses to portray the Shoalhaven landscape more identified with Von Guerard and Buvelot, at other times he cannot resist the temptation to paint the landscape in the manner of the early Box Hill painters ... Despite their reliance on a realistic approach to the subject, the Boyd Shoalhaven landscapes are more varied in technique and style than one might suppose. With his prodigious ability the artist is able to take the nature of the subject and render it in a manner which captures the essence of its particular properties at that time, or imbue it with a sense of character and meaning which is the result of his own immediate emotional or psychological response.'1In Shoalhaven; Hillside with Rocks and Man in a Boat, it is the brittle midday light which dominates the painting as the landscape towers over the figure and boat. The rocky hillside evokes a majestic permanence while the boatman, perhaps drifting for flathead, suggests mankind’s transient journey and the fickle nature of his presence next to nature. Here Boyd uses scale to great effect, but it is the harsh light and the drama that conspire to press Boyd’s ideas about our place in the landscape. The painted surface In Shoalhaven; Hillside with Rocks and Man in a Boat is both fluid and precise as Boyd flaunts his virtuosity with an artist’s most direct and expressive tool - paint. By the time Boyd reached the Shoalhaven, decades of working with paint had equipped the artist with the technical dexterity of a jazz musician; he simply played along or innovated as he felt. His most nuanced painting implement was his bare hands, which he used beautifully when he felt the need to convey compassion. Whether that was painting creatures like fish, dogs, the human figure, or in this case the rugged landscape of the Shoalhaven River. 1. McGrath, S., The Artist and The River: Arthur Boyd and The Shoalhaven, Bay Books, Sydney, 1982, p. 63HENRY MULHOLLAND

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Live Auction: 4 days 22 hours

Starting bid: AUD45,000 (0 bids)

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by Sotheby's Australia

May 11, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD70,000 - AUD90,000

Description: ARTHUR BOYD 1920-1999 Wimmera Landscape with White Cockatoo (circa 1986) oil on canvas signed 'Arthur Boyd' lower right 91 x 121 cm PROVENANCE Private Collection Eva Breuer Art Dealer, Sydney Private Collection, Sydney, acquired from the above on 1 November 1997

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Live Auction: 11 days 21 hours

Starting bid: AUD63,000 (0 bids)

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No Image Available

by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD20,000 - AUD25,000

Description: § ARTHUR BOYD 1920-1999 Yellow Nebuchadnezzar Running in a Hilly Landscape (1972) oil on board signed 'Arthur Boyd' lower right 19.5 x 24 cm PROVENANCE Arthur Tooth & Sons Ltd, London Private Collection, Scotland, acquired from the above Important Australian Art, Sotheby's Australia, Melbourne, 26 November 2013, lot 56, illustrated Savill Galleries, Sydney (stock 610214) (label verso), acquired from the above EXHIBITED Arthur Boyd: Nebuchadnezzar, Arthur Tooth & Sons Ltd, London, 13 June - 8 July 1972, no. 27 Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 16, illustrated OTHER NOTES This is a limited edition presentation set which includes this original painting and a bound edition of 'Nebuchadnezzar' signed by the author, T.S.R. Boase and Arthur Boyd, numbered 27/30.

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Live Auction: 10 days 21 hours

Starting bid: AUD18,000 (0 bids)

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No Image Available

by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD20,000 - AUD25,000

Description: § ARTHUR BOYD 1920-1999 Blind Nebuchadnezzar with Stick and Toad (1972) oil on board signed 'Arthur Boyd' lower right 19.5 x 24 cm PROVENANCE Arthur Tooth & Sons Ltd, London Private Collection, Scotland, acquired from the above Important Australian Art, Sotheby's Australia, Melbourne, 26 November 2013, lot 57, illustrated Savill Galleries, Sydney (stock 610215), acquired from the above EXHIBITED Arthur Boyd: Nebuchadnezzar, Arthur Tooth & Sons Ltd, London, 13 June - 8 July 1972, no. 19 Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 17, illustrated OTHER NOTES This is a limited edition presentation set which includes this original painting and a bound edition of 'Nebuchadnezzar' signed by the author, T.S.R. Boase, and Arthur Boyd, numbered 19/30.

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Live Auction: 10 days 21 hours

Starting bid: AUD18,000 (0 bids)

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No Image Available

by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD40,000 - AUD60,000

Description: ARTHUR BOYD 1920-1999 Gateway, Ramsholt (Suffolk Landscape with Gate) (1973) oil on composition board signed 'Arthur Boyd' lower right 44 x 109 cm PROVENANCE Ms M.R. Adeane, United Kingdom Pictures, Furniture, European & Asian Works of Art, and Tribal Art, Bonhams, Oxford, 25 November 2009, lot 208, illustrated Savill Galleries, Sydney (stock 209070) (label verso), acquired from the above EXHIBITED Arthur Boyd & Jamie Boyd: Suffolk Paintings, Ipswich Borough Council Museums and Galleries, 26 January - 10 March 1991 (label verso) Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 18, illustrated LITERATURE Ursula Hoff, The Art of Arthur Boyd, Andre Deutsch, London, 1986, plate 139, pp. 65, 176 (illustrated), 245, 'Suffolk Landscape with Gate'

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Live Auction: 10 days 21 hours

Starting bid: AUD36,000 (0 bids)

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD25,000 - AUD35,000

Description: § ARTHUR BOYD 1920-1999 Bush Landscape (1970) oil on canvas signed 'Arthur Boyd' lower right 51 x 64 cm PROVENANCE Hamet Gallery, London (label verso) Lady Richardson, London, purchased from the above on 18 May 1970 Modern and Contemporary Australian Art, Christie's, South Kensington, 23 September 2010, lot 34, illustrated Savill Galleries, Sydney (stock 610011) (label verso), acquired from the above EXHIBITED Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 37, illustrated

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Live Auction: 10 days 21 hours

Starting bid: AUD22,500 (0 bids)

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by Sotheby's Australia

May 11, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD150,000 - AUD250,000

Description: ARTHUR BOYD 1920-1999 Bridegroom Waiting for His Bride to Grow Up (1957-1958) oil and tempera on composition board signed 'Arthur Boyd' lower right 31 x 38 cm PROVENANCE Dr Ursula Hoff AO OBE, Melbourne EXHIBITED (Probably) Exhibition by Arthur Boyd: Allegorical Paintings, Australian Galleries, Melbourne, 22 April - 5 May 1958, no. 19, 'The Watching Bridegroom', 40 gns Arthur Boyd: The Bride, Heide Park and Art Gallery, Melbourne, 8 November - 14 December 1986, no. 12 Arthur Boyd: The Bride, Gould Galleries, Melbourne, 15-27 October 2002 Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 29 November 2014 - 9 March 2015, no. 25, illustrated LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat. no. 9:13a, p. 258 Colin Holden, The Outsider: A Portrait of Ursula Hoff, Australian Scholarly Publishing, Melbourne, 2009, pp. 76-77, 192, n.p. (illustrated) Geoffrey Smith, 'Catalogue Raisonné: Arthur Boyd's Central Australia Landscapes 1953-1960 and Bride Series 1954-1960', in Kendrah Morgan, Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 2014, cat. no. 58, p. 64 (illustrated)

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Live Auction: 11 days 21 hours

Starting bid: AUD135,000 (0 bids)

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by Sotheby's Australia

May 11, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD700,000 - AUD900,000

Description: ARTHUR BOYD 1920-1999 Bridegroom in a Black Creek (1960) oil and tempera on composition board signed 'Arthur Boyd' lower right frame: original, maker unknown, London 75.9 x 136.6 cm PROVENANCE Mr Sidney Nolan and Mrs Cynthia Nolan, London Private Collection, acquired from the above EXHIBITED Paintings: Arthur Boyd, Zwemmer Gallery, London, 19 July - 20 August 1960, no. 17 (label verso) Arthur Boyd Retrospective Exhibition, Whitechapel Gallery, London, June - July 1962, no. 93 Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 29 November 2014 - 9 March 2015, no. 58, illustrated LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat. 10:8, pp. 24, 261 Geoffrey Smith, 'Catalogue Raisonné: Arthur Boyd's Central Australia Landscapes 1953-1960 and Bride Series 1954-1960', in Kendrah Morgan, Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 2014, cat. no. 58, pp. 52 (illustrated), 72 (illustrated)

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Live Auction: 11 days 21 hours

Starting bid: AUD630,000 (0 bids)

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No Image Available

by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD30,000 - AUD50,000

Description: ARTHUR BOYD 1920-1999 Wimmera Landscape oil on composition board signed 'Arthur Boyd' lower right 45.5 x 60.7 cm PROVENANCE Private Collection Paintings, Leonard Joel, Melbourne, 14 April 1988, lot 1356 Infinite Art Gallery, Melbourne Private Collection, Melbourne, acquired from the above in 1988 Important Australian Art, Sotheby's Australia, Sydney, 22 April 2008, lot 6, illustrated Savill Galleries, Sydney (stock 208027) (label verso), acquired from the above EXHIBITED Arthur Boyd: A Pictorial Journey: Works dating from 1938, Savill Galleries, Sydney, 16 September - 11 October 2008, no. 6, illustrated Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 33, illustrated

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD30,000 - AUD50,000

Description: ARTHUR BOYD 1920-1999 Wimmera Dam (circa 1978) oil on composition board signed 'Arthur Boyd' lower right 38 x 56.3 cm PROVENANCE Multiplex Limited, Perth Important Australian Art, Sotheby's Australia, Sydney, 22 April 2008, lot 99, illustrated Savill Galleries, Sydney (stock 208035) (label verso), acquired from the above EXHIBITED Arthur Boyd: A Pictorial Journey: Works Dating from 1938, Savill Galleries, Sydney, 16 September - 11 October 2008, no. 31, illustrated Celebrated Australian Artists, Savill Galleries, Sydney, 23 October - 14 November 2012, no. 1, illustrated 20 Major Australian Artists, Savill Galleries, Sydney, 25 March - 17 April 2014, no. 19, illustrated Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 25, illustrated

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD20,000 - AUD30,000

Description: § ARTHUR BOYD 1920-1999 Landscape with Figure and Bird (circa 1963) oil and tempera on composition board signed 'Arthur Boyd' lower right 45.8 x 51.5 cm PROVENANCE Zwemmer Gallery, London (label verso) The Right Honorable The Lord Attenborough, United Kingdom, acquired from the above Richard Attenborough: A Life Both Sides of the Camera, Bonhams, London, 21 October 2015, lot 35, 'Figure with Landscape and Bird', illustrated Savill Galleries, Sydney (stock 610398) (label verso), acquired from the above

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD50,000 - AUD70,000

Description: § ARTHUR BOYD 1920-1999 Cottles Bridge (1958) oil on board signed 'Arthur Boyd' lower right 34.3 x 46.7 cm PROVENANCE Private Collection Joseph Brown Gallery, Melbourne Mr Ted Lustig, Melbourne, acquired from the above in 1976 The Estate of Ted Lustig, Melbourne Australian and International Art, Sotheby's Australia, Melbourne, 21 November 2006, lot 4, illustrated Savill Galleries, Sydney (stock 610412) (label verso), acquired from the above EXHIBITED Autumn Exhibition 1976: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 1-12 March 1976, no. 47, illustrated Arthur Boyd, Savill Galleries, Sydney, 7-31 March 2007, no. 2, illustrated

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by Sotheby's Australia

May 11, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD20,000 - AUD30,000

Description: ARTHUR BOYD 1920-1999 Lovers in an Orchard (1962-1963) earthenware, coloured slips, clear glaze signed 'Arthur Boyd' lower right 52 x 56.5 cm PROVENANCE Mr Alan Moorehead, London Robin Gibson Gallery, Sydney (label verso) Private Collection, Sydney, acquired from the above in 1992 EXHIBITED Ceramic Paintings: Arthur Boyd, Zwemmer Gallery, London, 3 - 30 October 1962, no. 7 Arthur Boyd: Retrospective, Art Gallery of New South Wales, Sydney, 15 December 1993 - 6 March 1994, National Gallery of Victoria, Melbourne, 20 March - 23 May 1994, Tasmanian Museum and Art Gallery, Hobart, 9 June - 21 August 1994, Art Gallery of Western Australia, Perth, 22 September - 20 November 1994, no. 209 LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat. 12:7, pp. 119, p.225 (illustrated), 266 Barry Pearce, Arthur Boyd, Art Gallery of New South Wales, Sydney, 1993, pp. 159, 172

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD25,000 - AUD35,000

Description: ARTHUR BOYD 1920-1999 Berwick Landscape 1946 oil on canvas signed and dated 'Arthur Boyd 1946' lower right 50.6 x 60.7 cm PROVENANCE Private Collection Fine Australian and European Paintings, Sotheby's Australia, Melbourne, 28 April 1998, lot 176, 'Cattle by a River', illustrated Niagara Galleries, Melbourne, acquired from the above Private Collection, Perth Private Collection, Melbourne Important Australian Art, Sotheby's Australia, Melbourne, 27 August 2007, lot 88, illustrated Savill Galleries, Sydney (stock 207087) (label verso), acquired from the above EXHIBITED Blue Chip III: The Collector's Exhibition, Niagara Galleries, Melbourne, 27 February - 31 March 2001, no. 20, illustrated Arthur Boyd, Savill Galleries, Sydney, 5 March - 5 April 2008, no. 2, illustrated Arthur Boyd: A Pictorial Journey: Works Dating from 1938, Savill Galleries, Sydney, 16 September - 11 October 2008, no. 2, illustrated Arthur Boyd, Savill Galleries, Sydney, 2-30 September 2014, no. 2, illustrated

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD90,000 - AUD140,000

Description: § ARTHUR BOYD 1920-1999 Cable Layer (1959) oil on canvas on composition board signed 'Arthur Boyd' lower right 71 x 90.5 cm PROVENANCE Australian Galleries, Melbourne (label verso) Mr L. Gordon Darling, Melbourne, acquired from the above on 3 April 1959 Private Collection, Sydney Fine Australian Paintings, Sotheby's Australia, Melbourne, 27 March 1988, lot 212, illustrated Mr William J. Ross, Melbourne, acquired from the above Lincraft, Melbourne Modern and Contemporary Art, Sotheby's Australia, Sydney, 21 March 2005, lot 21, illustrated Savill Galleries, Sydney (stock 610411) (label verso), acquired from the above EXHIBITED Arthur Boyd, Australian Galleries, Melbourne, 14 April - 23 May 1959, no. 12, 180 gns (label verso) Arthur Boyd Retrospective Exhibition, Whitechapel Gallery, London, June - July 1962, no. 79, 'The Cable Layer' Arthur Boyd's Australia, National Gallery of Victoria, Melbourne, 2 April - 4 May 1970, no. 48A, 'The Cable Layer' (label verso) Annual Collectors' Exhibition 2001, Lauraine Diggins Fine Art, Melbourne, 16 June - 14 July 2001, no. 58, 'The Cable Layer', illustrated Bird Life in Australian Art, Savill Galleries, Melbourne, 22 July - 14 August 2005, no. 2, 'The Cable Layer', illustrated Arthur Boyd: Revisited - Spanning 5 Decades, Savill Galleries, Sydney, 6 September 2005, no. 3, 'The Cable Layer', illustrated LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat.no. 8:46, 'The Cable Layer', pp. 144, 256

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ARTHUR BOYD, (1920 - 1999), PROTECTION, 1957 - 58, glazed ceramic tile

by Deutscher and Hackett

May 4, 2016, 7:00 PM AEST

South Yarra, Australia

Estimated Price: AUD120,000 - AUD160,000

Description: ARTHUR BOYD, (1920 - 1999), PROTECTION, 1957 - 58, glazed ceramic tile DIMENSIONS: 45.5 - 61.0 cm SIGNED: signed lower right: Arthur Boyd PROVENANCE: Guelda Pyke, Melbourne Thence by descent Private collection, Melbourne EXHIBITED: Exhibition by Arthur Boyd: Allegorical Paintings, Australian Galleries, Melbourne, 22 April - 5 May 1958, cat. - Arthur Boyd Exhibition, David Jones Art Gallery, Sydney, - - 13 October 1958, cat. - Arthur Boyd: the Bride, Heide Park and Art Gallery, Melbourne, - November - 14 December 1986, cat. - LITERATURE: Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, pp. 146 (fn. 24), 252 (6.86) Smith, G., ‘Catalogue raisonne’, in: Morgan, K. et. al., Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 2014, cat. 37, p. 67 In 1958, Arthur Boyd stunned local audiences with a major cycle of paintings depicting the doomed loved triangle of an Aboriginal man, his half-caste wife and the groom’s imagined ideal of a white, European bride. Colloquially known as the ‘Bride’ series,1 these works were originally shown under the title of ‘Allegorical Paintings’ and catalogue marginalia from the time describes them as being ‘(t)remendously strong, disquieting and anguished. Impossible to live with but above all superbly painted and controlled in composition.’2 One reason for their impact was their sheer physical scale as the sixteen paintings were each amongst the largest exhibited to date by a post-War Australian artist. However, within this overwhelming display were some smaller scale works, the most intimate of which was the ceramic tile on offer here, the poetically suggestive Protection.3 The ‘Bride’ series had its genesis in a journey undertaken by the artist to Central Australia in 1953.4 As a white middle-class boy from Melbourne, Boyd was entirely ignorant of the true plight of the Australian aborigine and what he found there astounded and deeply troubled him. Key to the resulting paintings was an incident he witnessed where a group of aboriginal women, dressed in wedding dresses, were carted to a ceremony on the back of a flat top truck. On return to Melbourne, hisconfusion and insufficient understanding led him to harshly describe the aboriginal population as being as ‘really pathetic. Lounging about on street corners at a loose end. No fight like the Negroes...’5 As with his peers, Boyd had at that stage experienced a greater interaction with wartime American GIs than with the original inhabitants of his homeland. However this was to change as Boyd, a genuine humanist, contemplated what he had witnessed. Known primarily as a painter, Boyd had established a pottery in Murrumbeena in 1944 with the artist John Perceval and the philosopher Peter Hebst (Boyd’s father Merric is regarded as the founder of studio ceramics in Australia). Branded as the AMB (Arthur Merric Boyd) Pottery, the main production was of hand-decorated domestic ware, but Boyd also produced more than 100 ceramic tiles between 1949 and 1953. Most featured biblical subjects and the imagery was applied in thin painterly layers of glaze with the result echoing the translucent depth of stained glass. For the artist, this process had more importance than simple experimentation. ‘It was the most marvellous feeling … a painting doesn’t have anywhere near the impact of pulling something out that has been almost purged by being through fire…. It is a pure object and it is changed. It’s formed in the fire and so the surprise is marvelous.’6 In 1956, the landmark Australian Galleries was established in Melbourne and shortly after, Boyd was taken on and paid a monthly stipend by the directors, Tam and Anne Purves. Financially stable for once, Boyd now found time to concentrate on the conflicted ideas that had been bubbling in his mind since the Central Australian experience. In his home-studio at Surf Avenue, Beaumaris, the artist set to work envisaging a saga of the doomed lovers ‘trapped in the space between two cultures, estranged and dreaming in a world of fantasy into which (they were) equally locked. The theme is frustration.’7 In most of the images, the Aboriginal groom appears to spurn his wife as he aspires to his dream bride but this single tile provides a tender contrast. Here, he ‘places his huge hand protectively on the pregnant bride – the only affectionate gesture in the series.’8 Amidst the turbulence and high drama of the exhibition’s monumental paintings, the discrete scale of Protection would have provided a delicate counterpoint reinforcing the beauty of its familial message. Purchased at the time by his colleague, the Bell School artist Guelda Pyke, it has remained within her family and is now offered publicly for the first time since its original exhibition nearly sixty years ago. 1. Also referred to as ‘Love, Marriage and Death of a Half-Caste’ 2. Unidentified author. Notes inscribed on original exhibition catalogue, Arthur Boyd (Australian Art and Artist file), State Library of Victoria, Melbourne 3. The exhibition comprised 16 paintings, 3 studies, 1 sketch, and 1 tile. 4. Not 1951 as is commonly listed. The journey occurred during October/November 1953. See: Morgan, K, ‘Boyd’s Brides: a modern allegory’, in: Morgan, K. and others, Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 2014, p. 11 fn. 5. 5. Arthur Boyd to Tim Burstall, 14.11.1953, quoted in: McPhee, H., Memoirs of a Young Bastard: the diaries of Tim Burstall, Miegunyah Press, Melbourne, 2012, p. 5 6. Arthur Boyd, quoted in: Pearce, B., Arthur Boyd: retrospective, Beagle Press, Sydney, 1993, p. 169 7. Ludeman, B., ‘Introduction’, Arthur Boyd: the Bride, Heide Park and Art Gallery, Melbourne, 1986, non-paginated 8. Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 146, fn. 24 ANDREW GAYNOR

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ARTHUR BOYD, (1920 - 1999), WIMMERA LANDSCAPE WITH WATERHOLE, BIRDS AND SHELTER, c.1950, oil and tempera on composition board

by Deutscher and Hackett

May 4, 2016, 7:00 PM AEST

South Yarra, Australia

Estimated Price: AUD100,000 - AUD150,000

Description: ARTHUR BOYD, (1920 - 1999), WIMMERA LANDSCAPE WITH WATERHOLE, BIRDS AND SHELTER, c.1950, oil and tempera on composition board DIMENSIONS: 87.0 - 121.0 cm SIGNED: signed lower left: Arthur Boyd PROVENANCE: Guelda Pyke, Melbourne Thence by descent Private collection, Melbourne In this shimmering painting, Arthur Boyd captures a quiet vista in Victoria’s north-western wheatbelt region known as the Wimmera. Thomas Mitchell, who surveyed the area in the mid-1830s, named it after a word from the local indigenous language meaning ‘throwing stick’, and it now includes such towns as Horsham, Dimboola, Nhill and Ararat. In the mid-20th century, it also possessed an abiding sense of solitude with ‘so little to break the vision (that) the whole landscape appears to surround you everywhere except the particular minute patch that is yourself.’1 Boyd first visited Horsham and the Wimmera in the summer of 1948-49, travelling in the company of the poet Jack Stephenson. Here, he painted landscapes at the border of the Wimmera River and would return several times over the next years. Landscape painting was a major preoccupation for Arthur Boyd from his earliest days on the Mornington Peninsula in the company of his grandfather, the artist Arthur Merric Boyd (senior). Alternating between impressionism and expressionism in technique, Boyd began reinterpreting biblical stories set within Australian locales which alternated between chaotic urban sprawl and tangled scrubby bush. In the mid-1940s, Albert Tucker loaned Boyd a copy of Max Doerner’s The Materials of the Artists and Their Use in Painting with Notes on The Techniques Of The Old Masters, a handbook he pored over with his colleague John Perceval. Doerner’s book had already informed legions of practitioners since being published in 1921, and the two young artists enthusiastically experimented with some of its suggested media. One in particular was tempera, which is classically a mixture of egg yolk, oil, water and pigment (though casein emulsion may be used instead of egg). It must be used quickly and provides a matt, smooth surface, though some artists choose to apply varnish afterwards. The technique has a rich history dating from the fayum funerary portraits of 1st Century Egypt, through to such artists as Botticelli, the Pre-Raphaelites, Andrew Wyeth, Giorgio de Chirico and Howard Taylor. For Boyd, ‘the egg tempera … gave a new translucency to (his) paintings of the late 1940s, rather like the glazes he was using to decorate ceramics. One of the earliest using the new technique was The Golden Calf of 1946 2 where, through semi-transparent pigments, can be seen the chalky white ground, imparting a mysterious glow to the work.’3 By the time of the Wimmera trip, Boyd was well versed in the use of tempera and was able to harness its unique qualities for a small suite of paintings inspired by the experience. The nature of the medium also helped him retain the stark immediacy of the landscape, having absorbed Doerner’s advice that ‘(q)uick work and not too frequent overpainting heightens the effect of the (chalk-based) ground, which is therefore especially adapted for sketching purposes … and above all tempera painting.’4 In Wimmera Landscape with Waterhole, Birds and Shelter, c.1950 Boyd focuses on the scrubby minutiae of the land with its ramshackle shelter, dam and ubiquitous crows. An ominous sky hints at possible rain though this is often an unfulfilled and frustrating local illusion. However, as Barry Pearce notes, the endless wheat plains ‘are not by any means forbidding, nor forsaken. But in dry hot weather (they can) have, over sparse, unbroken horizons, a searing expanse of sky that elicit(s) an acute sense of the infinite’,5 a tenor that Boyd accurately conveys. The painting offered here was not exhibited in 1950 with its companions at either the Stanley Coe or David Jones galleries in Sydney and Melbourne, as Boyd gifted it to his artist colleague Guelda Pkye. However, others from those shows were bought directly by the Art Gallery of New South Wales, Sydney (Mid-day, the Wimmera, c.1950, 75.6 x 90.8 cm) and the National Gallery of Victoria, Melbourne (Irrigation Lake, Wimmera, c.1950, 81.3 x 121.9 cm). The critical success of these paintings were integral to Boyd’s subsequent inclusion in the Jubilee Exhibition of Australian Art in 1951 and the later decision which awarded him the honour of being Australia’s representative for the Venice Biennale of 1958. Here, alongside works by the late Arthur Streeton, Boyd exhibited eight paintings, two of which were Wimmera subjects. Offered for the first time in 60 years, this painting is truly a significant rarity. 1. Sidney Nolan, letter to Sunday Reed, 24 May 1942, quoted in Underhill, N., (ed.), Nolan on Nolan, Penguin, 2007, p. 113 2. In the collection of Art Gallery of Ballarat, Victoria 3. Pearce, B., Arthur Boyd: retrospective, Beagle Press, Sydney, 1993, p. 19 4. Doerner, M., The Materials of the Artists and Their Use in Painting with Notes on The Techniques Of The Old Masters, Rupert Hart-Davies, London, revised edition, 1969, p. 11 5. Pearce, B., op cit., p. 20 ANDREW GAYNOR

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD2,000 - AUD3,000

Description: ARTHUR BOYD SNR 1862-1940 (Pastoral) 1899 watercolour on paper signed and dated 'Arthur Boyd / 1899' lower right 23.5 x 38.8 cm PROVENANCE Tom Sliver Gallery, Melbourne Mr Graeme Hannan and Mrs Judi Hannan, Melbourne, acquired from the above The Contents of Impatiens: The Property of Mr & Mrs Graeme and Judi Hannan, Mossgreen Auctions, Melbourne, 13 August 2007, lot 6, 'Pastoral Scene with Buildings and Farmer on Horseback', illustrated Savill Galleries, Sydney (stock 207057) (label verso), acquired from the above

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by Kiefer Buch- und Kunstauktionen

April 30, 2016, 11:00 AM CET

Pforzheim, Germany

Estimated Price: €0 - €100

Description: Brusenbach, Arthur (1881 Pressburg - Wien 1957). "Schlafender Frauenakt". Lithographie, 1920. 25,5 x 19 cm, Blgr. 40 x 30 cm. Sign. - Leichte Altersspuren.

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Gustav Bolin (1920-1999)

by FauveParis

April 30, 2016, 3:00 PM CET

Paris, France

Estimated Price: €60 - €80

Description: Gustav Bolin (1920-1999) Sans titre Lithographie sur papier signé en bas à droite et numéroté en bas à gauche 73,5 x 55 cm

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by Sotheby's Australia

May 10, 2016, 6:30 PM AEST

Sydney, Australia

Estimated Price: AUD4,000 - AUD6,000

Description: PENLEIGH BOYD 1890-1923 (Road to the Farm House) 1914 oil on board signed and dated 'T Penleigh Boyd. / 14' lower right 18.2 x 28.2 cm PROVENANCE Private Collection Australian and European Paintings, Christie's Australia, Melbourne, 28 April 1999, lot 367, illustrated Savill Galleries, Sydney (stock 199095) (label verso), acquired from the above

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Selection of Boyds Bears and friends figurines

by Gallery 70two

May 2, 2016, 6:00 PM CST

Bedford, TX, USA

Description: and banner

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Maurice TILLIEUX 1920-1999 GIL JOURDAN

by Artcurial

April 30, 2016, 2:00 PM CET

Paris, France

Estimated Price: €1,000 - €1,500

Description: Maurice TILLIEUX 1920-1999 GIL JOURDAN LE GANT A TROIS DOIGTS Encre de Chine et crayon pour la planche 11 de cet album publié en 1966 aux éditions Dupuis. Encadré. Provenance: Collection Renaud, Paris h: 48 w: 37,50 cm

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Raymond REDING 1920-1999 JARI DANS LA TOURMENTE

by Artcurial

April 30, 2016, 2:00 PM CET

Paris, France

Estimated Price: €100 - €150

Description: Raymond REDING 1920-1999 JARI DANS LA TOURMENTE Encre de Chine, crayon et gouache sur papier pour la planche 12 de cet album publié en 1967 aux éditions du Lombard. Encadré. Provenance: Collection Renaud, Paris h: 67 w: 38 cm

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by Fusco Auctions

May 20, 2016, 5:30 PM EST

Willoughby, OH, USA

Estimated Price: $100 - $200

Description: Irish Fairy Tales James Stephens 1920 with 16 tissue guarded color plates: A nice clean copy of "Irish Fairy Tales" from James Stephens. Published by Macmillan and Co, green cloth covered boards, illustrated by Arthur Rackham. Light toning, cover is loose but the pages are intact. Really nice book.

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ROBERT SUDLOW (1920-2010) OIL ON PAPER

by Dirk Soulis Auctions

April 30, 2016, 11:00 AM CST

Lone Jack, MO, USA

Estimated Price: $800 - $1,200

Description: Titled 'Clark's Hill 1999' verso, signed lower right and dated 99, sheet measures 17 x 23, frame measures 21 x 27 inches.

Condition Report: Very good condition as shown.

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JOHN PERCEVAL - (1923 - 2000) - THE POTTERY, 1948 - oil, resin and tempera on canvas

by Deutscher and Hackett

May 4, 2016, 7:00 PM AEST

South Yarra, Australia

Estimated Price: AUD350,000 - AUD450,000

Description: JOHN PERCEVAL - (1923 - 2000) - THE POTTERY, 1948 - oil, resin and tempera on canvas DIMENSIONS: 81.0 - 91.5 cm SIGNED: signed and dated lower left: Perceval - 48 inscribed verso: MRS WANN - BENALLA - VICTORIA PROVENANCE: Melbourne Book Club Gallery, Melbourne Mrs Wann, Benalla, Victoria Christie’s, Melbourne, 13 March 1975, lot 468 Private collection, Melbourne EXHIBITED: John Perceval (seventeen paintings, thirty-two drawings), Melbourne Book Club Gallery, Melbourne, 1948, cat. 21, (catalogue introduction by Franz Phillip) LITERATURE: Allan, T., John Perceval, Melbourne University Press, Victoria, 1992, p. 151 (as ‘Arthur Boyd Pottery Shop’) RELATED WORK: The Potter at his Wheel, mixed media, 79.0 x 74.0 cm, private collection, illus. in Plant, M., John Perceval, Lansdowne Australian Art Library, Melbourne, 1971, p. 39ESSAY: When the eighteen year-old John Perceval met Arthur Boyd in 1941, he not only found a steadfast friend, he also found a family. Coming from a childhood marked by divorce, isolation and the blight of polio, Perceval was now welcomed into the extended Boyd family compound at Murrumbeena, a suburb of Melbourne, where generations lived side by side amidst a tangle of vegetation and run-down houses. When he subsequently married Boyd’s sister Mary and had children of his own, the circle became complete. In 1921, Boyd’s father Merric had started Australia’s first ever studio pottery and in 1944 his son-in-law Hatton Beck borrowed some of his equipment to set up a ceramic studio of his own in an old butcher’s shop in nearby Neerim Road. This was then purchased by Perceval, Boyd and their philosopher friend Peter Hebst for two hundred pounds. Renamed the AMB (Arthur Merric Boyd) Pottery, the immediate aim was the ‘mass manufacture of utilitarian crockery to meet the demand caused by wartime shortages’,1 but the war’s end led to an easing of restrictions and the Pottery started to produce ‘a great number of earthenware pots with underglaze painted decoration. Favourite motifs were fighting cocks, flowers, angels and occasional portrait heads.’2 Not surprisingly, the distinction between family and work was blurred and The Pottery captures all the rambunctious energy of the enterprise. ‘I remember going into the shop and thinking aren’t they pale? Of course it was the clay dust! The pottery inside looked like a bomb had gone off. The floor had clay all over the place and no order in it at all. … it had absolutely no appearance of a shop at all. They never said ‘look you kids, rack off’.’3 Initially, Boyd and Perceval tended to work the wheel while their wives glazed and decorated the pieces ‘(but as) the business grew, they called in more and more friends to help out. These included Neil Douglas, Charles Blackman, Jean Langley, Tim and Betty Burstall, John Howley and John Yule.’4 In The Pottery, 1948 Perceval shows himself at the wheel whilst next to him stands Betty Burstall who wears a distinctive hair band. In the foreground the artist’s son plays in a barrel (The Potter at his Wheel, 1947 also features Perceval and the cherubic Matthew). Pitchers tumble from the rafters, women stack the shelves, the kiln blazes away, and surfaces teem with a profusion of calligraphic designs. It is a scene of glorious chaos. The Pottery belongs to an important cycle of Perceval’s paintings which display the influence of his close study of works by Rembrandt, Brueghel and Hogarth. Earlier, Albert Tucker had introduced him to an influential book on painterly technique5 and through this, Perceval developed a personalised ‘mixed media technique of resinous colour over tempera with a heightening of white, allowing a calligraphic basic drawing and a rather dry scumbled top effect’,6 an approach which is evident in this work. The Pottery and four associated drawings were exhibited in 1948 in the artist’s first solo exhibition at the Melbourne Book Club Gallery, an event which also featured paintings of biblical stories set within Melbourne locations, alongside bucolic scenes drawn from the artist’s intimate Murrumbeena environment. Many of these are now considered major works from the artist’s oeuvre including French Nuns, The Ark, Xmas Eve, The Bar, The Market and the tender Flight to Egypt, now in the collection of the Art Gallery of Western Australia. 1. Haese, R., Rebels and Precursors: The revolutionary years of Australian Art, Penguin, Melbourne, 1981, p. 217 2. Reid, B., Of Dark and Light: The art of John Perceval, National Gallery of Victoria, Melbourne, 1992 p. 18 3. Joy Collins, unpublished manuscript, cited in: Magin, P., The Murrumbeena Boyds: Just like us; but different, Glen Eira City Council, Melbourne, 2006, p. 11 4. Magin, P., op cit., pp. 15–16 5. Doerner, M., The Materials of the Artists and Their Use in Painting with Notes on The Techniques Of The Old Masters, Rupert Hart-Davies, London, 1921 6. Plant, M., John Perceval, Landsdowne Press, Melbourne, 1971, p. 26

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ARTHUR PLATERO STERLING SILVER & MALACHITE BOLO

by Chandler's International Auction

May 1, 2016, 1:00 PM EST

Winston Salem, NC, USA

Estimated Price: $100 - $200

Description: ARTHUR PLATERO STERLING SILVER & MALACHITE BOLO (NAVAJO)

Condition Report: GOOD

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Cast iron GUINNESS & ARTHUR GUINNESS signs.

by Victor Mee Auctions Ltd

May 2, 2016, 12:00 PM GMT

Belturbet, Ireland

Estimated Price: €40 - €60

Description: Cast iron GUINNESS & ARTHUR GUINNESS signs.

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Arthur Wood Creamer

by Berner's Auction Gallery

May 6, 2016, 12:00 PM EST

Springfield, OH, USA

Estimated Price: $10 - $1,000

Description: Ye Olde Boaching & Hunting Days. Arthur Wood England. 3.75" Tall.

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12 bouteilles CHÂTEAU BOYD CANTENAC 1989 3è GC Margaux (base goulot

by Artcurial

May 2, 2016, 11:00 AM CET

Paris, France

Estimated Price: €300 - €360

Description: 12 bouteilles CHÂTEAU BOYD CANTENAC 1989 3è GC Margaux (base goulot, étiquettes abimées, dont 6 décollées) (cave 13)

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Live Auction: 2 days 22 hours

Starting bid: €300 (0 bids)

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12 bouteilles CHÂTEAU BOYD CANTENAC 1969 3è GC Margaux (haute épaule) (cave 13)

by Artcurial

May 2, 2016, 11:00 AM CET

Paris, France

Estimated Price: €120 - €150

Description: 12 bouteilles CHÂTEAU BOYD CANTENAC 1969 3è GC Margaux (haute épaule) (cave 13)

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Live Auction: 2 days 22 hours

Starting bid: €120 (0 bids)

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12 bouteilles CHÂTEAU BOYD CANTENAC 1973 3è GC Margaux (2 légèrement bas

by Artcurial

May 2, 2016, 11:00 AM CET

Paris, France

Estimated Price: €120 - €150

Description: 12 bouteilles CHÂTEAU BOYD CANTENAC 1973 3è GC Margaux (2 légèrement bas, 6 haute épaule, 4 mi épaule, étiquettes abimées) (cave 13)

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Live Auction: 2 days 22 hours

Starting bid: €120 (0 bids)

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12 bouteilles CHÂTEAU BOYD CANTENAC 1973 3è GC Margaux (haute épaule

by Artcurial

May 2, 2016, 11:00 AM CET

Paris, France

Estimated Price: €120 - €150

Description: 12 bouteilles CHÂTEAU BOYD CANTENAC 1973 3è GC Margaux (haute épaule, étiquettes abimées) (cave 13)

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Live Auction: 2 days 22 hours

Starting bid: €120 (0 bids)

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12 bouteilles CHÂTEAU BOYD CANTENAC 1973 3è GC Margaux (haute épaule

by Artcurial

May 2, 2016, 11:00 AM CET

Paris, France

Estimated Price: €120 - €150

Description: 12 bouteilles CHÂTEAU BOYD CANTENAC 1973 3è GC Margaux (haute épaule, étiquettes abimées) (cave 13)

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Live Auction: 2 days 22 hours

Starting bid: €120 (0 bids)

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12 bouteilles CHÂTEAU BOYD CANTENAC 1988 3è GC Margaux (étiquettes abimées) Caisse bois d'origine (cave 13)

by Artcurial

May 2, 2016, 11:00 AM CET

Paris, France

Estimated Price: €240 - €270

Description: 12 bouteilles CHÂTEAU BOYD CANTENAC 1988 3è GC Margaux (étiquettes abimées) Caisse bois d'origine (cave 13)

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Live Auction: 2 days 22 hours

Starting bid: €240 (0 bids)

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Arthur Rackham - The Sleeping Beauty,

by Christian Hesse Auktionen

May 21, 2016, 10:00 AM CET

Hamburg-Winterhude , Germany

Estimated Price: €96 - €120

Description: told by C. S. Evans and illustrated by Arthur Rackham. London, William Heinemann [1920]. Mit zahlreichen, teils blatt- und doppelblattgroßen Illustrationen. Originalhalbleinenband mit illustrierten Deckeln. Erste englische Ausgabe. – Dazu drei englische Kinderbücher: I. Gammon and Spinach. Pictures by Stewart Orr. Verses by John Brymer. London, Glasgow and Dublin, Blackie & Son ohne Jahr. – II. Aunt Green, Aunt Brown and Aunt Lavender. A Story told and illustrated by Elsa Beskow. New York and London, Harper & Brothers 1936. – III. Who will comfort Toffle? By Tove Jansson. London, Ernest Benn 1960. – Eine Dublette von III als Beigabe. 25,7 : 19,0 cm. 110, [2] Seiten. – Einband etwas fleckig, Ecken bestoßen. – Eine Lage gelockert. äußerste Ränder ganz leicht stockfleckig.

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Live Auction: 21 days 21 hours

Starting bid: €80 (0 bids)

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Arthur Dove, Summer Orchard

by Alpha Gallery

Ships From: Boston, MA US

Description: Arthur Dove, Summer Orchard, 1937, watercolor on paper, 5 x 7 inches

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Price: $45,000

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Dalziels' Bible Gallery, 1st Edition, #430/1000

by Ahlers & Ogletree Inc.

April 30, 2016, 11:00 AM EST

Atlanta, GA, USA

Estimated Price: $700 - $900

Description: "Dalziels' Bible Gallery: Illustrations from the Old Testament from Original Drawings"- 1881, first edition, numbered 430/1000, published George Routledge & Sons (English, founded 1836), printed by Camden Press (English, 19th century), engraved by George Dalziel (English, 1815-1902) and Edward Dalziel (English, 1817-1905) (The Brothers Dalziel), after original artwork by Ford Madox Brown (English, 1821-1893), Edward Burne-Jones (English, 1833-1898), Arthur Boyd Houghton (English/Indian, 1836-1875), William Holman Hunt (English, 1827-1910), Frederick Leighton (English, 1830-1896), Edward John Poynter (English/French, 1836-1919), Frederick Sandys (English, 1829-1904), Simeon Solomon (English, 1840-1905), George Frederick Watts (English,1817-1904). Folio in original publisher's vellum with gilt brown and red decoration to covers and spine, with gilt and red decorative title to front cover and spine, with bevelled edges, with unpaginated card-stock leaves with engravings printed on India paper laid down. Folio overall approximately 17.25" x 13.5" x 1.5".

Condition Report: Prior to bidding, please consult the additional photos provided and ask all pertinent questions (i.e. condition, size, etc.). Packing and shipping is the responsibility of the buyer, please see our website for a list of shipping companies. For a condition report, please email Condition@AandOauctions.com. For additional photos, please email Photos@AandOauctions.com.

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Live Auction: 1 day 4 hours

Starting bid: $350 (0 bids)

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PUNU PEOPLE REPUBLIC OF EQUATORIAL GUINEA

by A.B. Levy's

May 5, 2016, 2:00 PM EST

Palm Beach, FL, USA

Estimated Price: $800 - $1,200

Description: Property of Lynn University to benefit the Library Renovation Fund PUNU PEOPLEREPUBLIC OF EQUATORIAL GUINEACeremonial Male Herbal Medicine FigureCarved wood with deep rich brown patina of full male figure standing & holding herbal medicine containers in each hand, elaborate crested coiffure, face surrounded with raffia covered with red fabric saturated with herbal medicines, facial & body scarification.17.15 by 46.99 cm (6.75 by 18.50 in.)Provenance:Gift of Arthur B. Steinman / 1999

Condition Report: Good overall condition. If you would like to be added to our email list please sign up at ablevys.com Please let me know if you need any additional information. Thank you, Albert Levy albert@ablevys.com

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Live Auction: 6 days 7 hours

Starting bid: $400 (0 bids)

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SENUFO PEOPLE COTE D'IVOIRE

by A.B. Levy's

May 5, 2016, 2:00 PM EST

Palm Beach, FL, USA

Estimated Price: $600 - $900

Description: Property of Lynn University to benefit the Library Renovation Fund SENUFO PEOPLECOTE D'IVOIRERoyal Female Ancestral FigureCarved wood, medium size of dark brown-black varied aged patina of full older female figure kneeling and grinding herbal medicines in bowl in front of her, serene expression, finely detailed face, hair, jewelry, fingers.11.43 by 44.45 cm (4.5 by 17.5 in.)Provenance:Gift of Arthur B. Steinman / 1999

Condition Report: Good overall condition, If you would like to be added to our email list please sign up at ablevys.com Please let me know if you need any additional information. Thank you, Albert Levy albert@ablevys.com

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Live Auction: 6 days 7 hours

Starting bid: $300 (0 bids)

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PENDE PEOPLE DEMOCRATIC REPUBLIC OF THE CONGO (ZAIRE)

by A.B. Levy's

May 5, 2016, 2:00 PM EST

Palm Beach, FL, USA

Estimated Price: $400 - $600

Description: Property of Lynn University to benefit the Library Renovation Fund PENDE PEOPLEDEMOCRATIC REPUBLIC OF THE CONGO (ZAIRE)Ceremonial sickness mask Carved wood , the face with distorted nose and mouth.17.7 by 25.4 cm (7 by 10 in.)Provenance:Gift of Arthur B. Steinman / 1999

Condition Report: Good overall condition If you would like to be added to our email list please sign up at ablevys.com Please let me know if you need any additional information. Thank you, Albert Levy albert@ablevys.com

View additional info and full condition report Live Auction

Live Auction: 6 days 7 hours

Starting bid: $200 (0 bids)

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LEGA PEOPLE REPUBLIC OF ZAIRE

by A.B. Levy's

May 5, 2016, 2:00 PM EST

Palm Beach, FL, USA

Estimated Price: $200 - $400

Description: Property of Lynn University to benefit the Library Renovation Fund LEGA PEOPLEREPUBLIC OF ZAIREBwami Society Senior Rank CapHead of medium size made from finely woven raffia in round form with cowrie shells affixed to it, chin strap with cowrie shells, tuft of elephant hair wrapped with copper wire at top, adorned with glass seed beads17.78 by 43.18 cm (7 by 17 in.)Provenance:Gift of Arthur B. Steinman / 1999

Condition Report: Good overall condition If you would like to be added to our email list please sign up at ablevys.com Please let me know if you need any additional information. Thank you, Albert Levy albert@ablevys.com

View additional info and full condition report Live Auction

Live Auction: 6 days 7 hours

Starting bid: $100 (0 bids)

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1999 Ford F150

by Nellis Auction

April 30, 2016, 12:00 PM PST

Las Vegas, NV, USA

Description: VIN: 1FTZFO724XKA69687

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Live Auction: 1 day 8 hours

Current bid: $1,000 (9 bids)

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