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Howard Arkley Sold at Auction Prices

Painter, b. 1951 - d. 1999

Howard Arkley (5 May 1951 – 22 July 1999)[1] was an Australian artist, born in Melbourne, known for his airbrushed paintings of houses, architecture and suburbia. His mother's side of the family was Jewish and his father was German.


John Brack was Howard Arkley's first true inspiration and felt encouraged to continue with his art. After seeing an exhibition of works by Sidney Nolan, Arkley became very interested in art. Nolan's use of household materials inspired him and abstract artists such as Klee and Kandinsky also appealed to him. After discovering art, Arkley studied at Prahran College of Advanced Education from 1969 to 1972 where he discovered the airbrush, which he subsequently used in his paintings as he desired smooth surfaces.

He had his first exhibition, aged 24, at Tolarno Galleries, Melbourne, in 1975. Most of his early works were abstract, often depicting patterns or lines created with the airbrush. Arkley's works were first black and white, it was only later on that he began experimenting with colour. A turning point in Arkley's career was in 1981 when he created Primitive, a mural, which caught the attention of the public to his potential. In 1982 he painted a tram for the Victorian Ministry of the Arts.

One of his first pieces, "Le que", was noted in the Fine Arts Falls Collection in 1973.
Use of urban and suburban imagery

Between 1960 and 1990 he expanded in inventory of images and icons to include heads, portraits, masks and the urban and suburban imagery. Arkley returned from a trip from Europe where he had searched for inspiration. Upon walking home, he noticed the pattern of his front gate, he then ran around to all his neighbours gates using them as inspiration in his later artworks. Arkley's inspiration was taken from the patterns, colours and forms (gates, doors etc.) found in Australian suburbia. Strong visual effects such as colour, bold forms and brash designs derived from advertising were also evident in his works. Arkley was also known for being the first ever man to create a painting with his feet.

Influenced by, Arkley made use of handmade stencils and other household objects created such as perforated plastic laundry baskets and fly screen doors to achieve the richly textured patterns. Arkley collaborated with Juan Davila for an exhibition called Blue Chip Instant Decorator in 1991, at Tolarno Galleries in South Yarra. His exhibition called Fabricated Rooms with a 15-metre multipaneled series, was on display at the Art Gallery of New South Wales between 1998 and 1999. This image depicted of multiple rooms in a family home which were brightly colored and patterned.

His work was shown at the 1998 Biennale of Sydney, as well as international shows in Korea, Singapore and Germany.

He painted a colourful airbrushed portrait of musician Nick Cave in 1999 which is in the Collection of the National Portrait Gallery.
Final exhibition

Arkley opened his final exhibition at the 1999 Venice Biennale, then travelled to London to plan an album cover for Nick Cave. Following London, he flew to Los Angeles, where his exhibition at the Karen Lovegrove Gallery was a sell-out.[2] They then drove to Las Vegas where he married his partner Alison Burton on 15 July.[2] (It was his third marriage; he had previously been married to Elizabeth Gower and Christine Johnston.)[3] They returned to Melbourne on 19 July, and on 22 July 1999 he died of an accidental heroin overdose.[4]

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        • HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych 163 x 1...
          Apr. 10, 2024

          HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych 163 x 1...

          Est: $35,000 - $40,000

          HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych signed and editioned upper left: P/P III/III Juan Davila initialled and dated within image lower left: HA. 91. initialled and dated within image lower right: Davila 92. titled upper right within image 163 x 108cm (each, sheet); 163 x 216cm (overall) PROVENANCE: The Estate of Larry Rawling, Melbourne EXHIBITIONS: You Are Here, Institute of Modern Art, Brisbane, 5 - 28 November 1992 (another example) You Are Here, Australian Centre for Contemporary Art, Melbourne, 4 March - 4 April 1993 (another example) Icon Interior, Kalli Rolfe Contemporary Art, Australian National University Drill Hall Gallery, Canberra, 2001 (another example) Heide Museum of Modern Art, Melbourne, 24 November 2001 - 17 February 2002, cat. no. 17 (another example) Juan Davila, Prints and Drawings 1980s - 2005, Kalli Rolfe Contemporary Art, Melbourne, 2005 (another example) Juan Davila and Howard Arkley: Masters of Contemporary Collaboration, Benalla Art Gallery, Victoria, 1 October - 20 November 2011 (another example) LITERATURE: Gregory, J., Howard Arkley and Juan Davila: Icon Interior 1994-2001, Kalli Rolfe Contemporary Art, Melbourne, 2001, p. 5 (another example) Crawford, A., A Person Looks at a Work of Art...: The Michael Buxton Contemporary Australian Art Collection, Heide Museum of Modern Art, Melbourne, cat. no. 17 (illus., another example) Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, cat. no. 5.12, p.149 (illus. p.152, another example) Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2009/12/08/interior-with-built-in-bar-1992-wp-howard-arkley-juan-davila/ (illus., another example) OTHER NOTES: Other examples of this print are held in the collections of the Benalla Art Gallery, Victoria; Buxton Contemporary, Melbourne; and National Gallery of Australia, Canberra. RELATED WORK: Howard Arkley and Juan Davila, Interior with Built-in-Bar 1992, gouache on paper with silkscreen detailing, diptych, 159 x 216cm (sheet, overall), Leonard Joel, Melbourne, 9 May 2022, lot 20. Juan Davila and Howard Arkley cultivated a substantial collaborative alliance that developed over an extended period, resulting in the collaboration of three-dimensional installations, screenprints, paintings, and works on paper. The production of Interior with Built-in-Bar in 1992 marked a significant creation that signified a pivotal shift in their partnership dynamics. The collaborations between Howard Arkley and Juan Davila have left a profound imprint on the landscape of Australian art history, showcasing the potential of artistic partnerships that have long been overlooked until more recent times. By 1992, Juan Davila had established himself with politically charged paintings, contrasting Howard Arkley's focus on domestic interiors. While their aesthetic approaches differed - Arkley favoured a cleaner style often employing appropriation, while Davila's work leaned towards gestural expression and social commentary - their collaboration was market by a mutual exploration of each other's artistic realms. Although Arkley had prior experience as a collaborator, Davila embraced this new terrain, pushing boundaries and challenging each other's perspectives while maintaining a harmonious creative process. Their first major joint installation, Blue Chip Instant Decorator: A Room, debuted at Tolarno Galleries in 1991, followed by the creation of Interior with Built-in-Bar in 1992. This work exemplified a seamless fusion of their distinct styles, with Davila's vision of interior spaces melding with Arkley's perspective. Notably, Interior with Built-in-Bar deftly blurs the lines of authorship, showcasing a balanced interplay between the two artists. Interior with Built-in-Bar 1992 represented the last collaboration between Arkley and Davila, completed by Davila after Arkley's death. Rather than focusing on individual contributions, the emphasis lies on how their collaboration transcended ego, leveraging each other's strengths and limitations to create a cohesive artistic expression. Hannah Ryan Prints & Multiples Specialist © The Estate of Howard Arkley and Juan Davila, Courtesy Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999), Lattice 1981
          Mar. 27, 2024

          HOWARD ARKLEY (1951-1999), Lattice 1981

          Est: $15,000 - $20,000

          HOWARD ARKLEY (1951-1999) Lattice 1981 synthetic polymer paint on paper 61.5 x 87.0 cm; 71.5 x 94.0 cm (framed) signed and dated lower right: Howard Arkley 81 signed, dated and inscribed verso: TOP/ Howard Arkley 81 PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE

          Menzies
        • HOWARD ARKLEY (1951-1999), Red Wedge 1981
          Mar. 27, 2024

          HOWARD ARKLEY (1951-1999), Red Wedge 1981

          Est: $12,000 - $18,000

          PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE HOWARD ARKLEY (1951-1999) Red Wedge 1981 synthetic polymer paint on paper 68.0 x 96.0 cm; 76.5 x 104.0 cm (framed) signed and dated lower right: Howard Arkley 81 signed, dated and inscribed verso: title: Drawing for a Carpet 81 (April)/ Howard Arkley

          Menzies
        • Howard Arkley ( 1951-1999)- Triple Fronted Brick Veneer, giclee print 26/50
          Mar. 23, 2024

          Howard Arkley ( 1951-1999)- Triple Fronted Brick Veneer, giclee print 26/50

          Est: $2,500 - $3,500

          Howard Arkley ( 1951-1999)- Triple Fronted Brick Veneer, giclee print 26/50

          Kim's Auction
        • Howard Arkley ( 1951-1999)- Zappo Head, hand coloured screenprint
          Mar. 23, 2024

          Howard Arkley ( 1951-1999)- Zappo Head, hand coloured screenprint

          Est: $2,500 - $3,500

          Howard Arkley ( 1951-1999)- Zappo Head, hand coloured screenprint, 41x29cm signed lower right

          Kim's Auction
        • Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm
          Mar. 13, 2024

          Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm

          Est: $300,000 - $500,000

          Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm. Provenance. Current vendor purchased this from Arno Phillips (cash for anything pawnbrokers) in 2003. It was pawned by Alfred Dow Long, friend of Howard Arkley in 1995 but never collected. This pawnbroker had this customer & Brother pawn many art items & antiques over the years as well as Howard Arkley himself. No mention of this painting is made in Arkleyworks & it is not catalogued. Provenance is gauranteed as far back as 1995. Buyers must satisfy themselves as to authenticity of this artwork. There is no garauntee of provenance before 1995 apart from the connection of Alfred Long to the artist.

          Woodlands Auctions
        • HOWARD ARKLEY, 1951-1999, Zappo Head, hand coloured silkscreen, 40x30cm
          Mar. 10, 2024

          HOWARD ARKLEY, 1951-1999, Zappo Head, hand coloured silkscreen, 40x30cm

          Est: $2,000 - $3,000

          HOWARD ARKLEY 1951-1999 Zappo Head hand coloured silkscreen signed lower right

          Lawsons
        • HOWARD ARKLEY, Australian 1951-1999, Nick Cave, 1999, archival pigment print, ed. 36/499, 93.5 x 72 cm (frame: 109 x 87 x 4 cm)
          Feb. 21, 2024

          HOWARD ARKLEY, Australian 1951-1999, Nick Cave, 1999, archival pigment print, ed. 36/499, 93.5 x 72 cm (frame: 109 x 87 x 4 cm)

          Est: $6,000 - $8,000

          HOWARD ARKLEY Australian, 1951-1999 Nick Cave, 1999 archival pigment print, ed. 36/499 facsimile lower right; artist's blindstamp lower left; certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne.

          Lawsons
        • Howard Arkley, Artists proof, Zappo head, signed in pencil
          Feb. 14, 2024

          Howard Arkley, Artists proof, Zappo head, signed in pencil

          Est: $300 - $400

          Howard Arkley, Artists proof, Zappo head, signed in pencil

          Woodlands Auctions
        • HOWARD ARKLEY ( 1951-1999) - Triple Fronted Brick Veneer giclee print 8/100 38x54cm
          Feb. 11, 2024

          HOWARD ARKLEY ( 1951-1999) - Triple Fronted Brick Veneer giclee print 8/100 38x54cm

          Est: $1,000 - $2,000

          HOWARD ARKLEY ( 1951-1999) Triple Fronted Brick Veneer giclee print 8/100 38x54cm signed lower right

          Lawsons
        • Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, giclee print 30/50, 38x54cm, facsimile signed lower right.
          Jan. 21, 2024

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, giclee print 30/50, 38x54cm, facsimile signed lower right.

          Est: $2,000 - $3,000

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, giclee print 30/50, 38x54cm, facsimile signed lower right.

          Christian McCann Auctions
        • Howard Arkley (1951-1999) - Zappo Mask, Hand coloured screenprint 6/20, 39x28cm, signed lower right.
          Jan. 21, 2024

          Howard Arkley (1951-1999) - Zappo Mask, Hand coloured screenprint 6/20, 39x28cm, signed lower right.

          Est: $1,000 - $1,500

          Howard Arkley (1951-1999) - Zappo Mask, Hand coloured screenprint 6/20, 39x28cm, signed lower right.

          Christian McCann Auctions
        • HOWARD ARKLEY (1951-1999) "TRIPLE FRONTED BRICK VENEER"
          Dec. 10, 2023

          HOWARD ARKLEY (1951-1999) "TRIPLE FRONTED BRICK VENEER"

          Est: $1,700 - $2,500

          HOWARD ARKLEY (1951-1999) "TRIPLE FRONTED BRICK VENEER" Ltd Edition Digital Giclee facsimile print. Unframed work. Limited to only 20 prints, this is one of Arkleys most iconic and sought after images, dating from 1987, signed, titled and numbered 3 of only 20. Provenance: Hazel Gallery, Victoria. Image size: 110cm x 76. 50 ( 43. 31 in. x 30. 12in) Sheet size: 92 x 118 cm. (36. 22 x 46. 46 in. )

          Phillip Caldwell Auctioneers
        • Screenprint, 38x54cm, Howard Arkley
          Dec. 10, 2023

          Screenprint, 38x54cm, Howard Arkley

          Est: $1,500 - $2,000

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, screenprint 8/100, 38x54cm, facsimile signed lower right.

          Kim's Auction
        • HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm
          Dec. 07, 2023

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm

          Est: $3,500 - $4,500

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93.5 x 72cm PROVENANCE: Private collection, Melbourne OTHER NOTES: "Howard Arkley and Nick Cave moved in overlapping circles in Melbourne in the late 1970s. One of the first two works commissioned by the Portrait Gallery, Arkley's painting of Cave was one of the last the artist completed before his death at the peak of his career. The portrait captures the punk mentality and attitude of both artist and sitter in Arkley's immaculately-finished, psychedelic and incandescent airbrush style." (National Portrait Gallery, Canberra) RELATED WORK: Nick Cave 1999, synthetic polymer paint on canvas, 175.2 x 135.2cm, The Collection of the National Portrait Gallery, Canberra. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999), Stapelia-Peduncle (also known as Neocummgii) 1985
          Nov. 29, 2023

          HOWARD ARKLEY (1951-1999), Stapelia-Peduncle (also known as Neocummgii) 1985

          Est: $20,000 - $30,000

          HOWARD ARKLEY (1951-1999) Stapelia-Peduncle (also known as Neocummgii) 1985 synthetic polymer paint on paper 53.0 x 73.0 cm; 82.0 x 107.0 cm (framed) signed and dated lower left: Howard Arkley 85. signed, dated and inscribed verso: Name Howard Arkley/ Title/ Size/ Date 1985

          Menzies
        • Howard Arkley Brick Veneer, giclee print Ed 30/50
          Nov. 26, 2023

          Howard Arkley Brick Veneer, giclee print Ed 30/50

          Est: $1,500 - $3,000

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, gicleeprint 30/50, 74x110cm, facsimile signed lower right.

          Kim's Auction
        • HOWARD ARKLEY, HEAD OF YOUNG MAN (DALE), 1998
          Nov. 22, 2023

          HOWARD ARKLEY, HEAD OF YOUNG MAN (DALE), 1998

          Est: $15,000 - $20,000

          HOWARD ARKLEY (1951 - 1999) HEAD OF YOUNG MAN (DALE), 1998 synthetic polymer paint on arches paper 71.5 x 56.0 cm (sheet) signed and dated lower left: Howard Arkley 98 signed, dated and inscribed verso: Howard Arkley / Head of Young man (Dale) / 1998 / Acrylic on paper / 570 x 710 mm PROVENANCE Private collection, Melbourne, a gift from the artist in 1998  LITERATURE Howard Arkley Online Catalogue Raisonné:  https://www.arkleyworks.com/blog/2021/10/09/untitled-head-2-1998-w-p/ [accessed 17/08/23] © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY, FELONY, 1987
          Nov. 22, 2023

          HOWARD ARKLEY, FELONY, 1987

          Est: $150,000 - $250,000

          HOWARD ARKLEY (1951 - 1999) FELONY, 1987 synthetic polymer paint on canvas 160.0 x 120.0 cm signed verso: Howard Arkley signed, dated and inscribed with title verso: Howard Arkley / Felony / 1987 PROVENANCE Tolarno Galleries, Melbourne (label attached verso) Private collection, Melbourne, acquired from the above c.1987 EXHIBITED Howard Arkley: Suburban urban messages, Roslyn Oxley9 Gallery, Sydney, 2 – 19 September 1987, cat. 10 Howard Arkley, Anima Gallery, Adelaide, October – November 1987, cat. 3 Howard Arkley, Monash University Gallery, Melbourne, 18 October – 30 November 1991, cat. 63 Howard Arkley: The Retrospective, National Gallery of Victoria, Melbourne, 17 November 2006 – 25 February 2007 and touring (label attached verso, erroneously catalogued as ‘Felony, 1983’) LITERATURE Duncan, J (ed.), Howard Arkley, Monash University Gallery, Melbourne, 1991, p. 27 (illus.) Crawford, A., & Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, pp. 63, 65 (illus. erroneously catalogued as ‘Felony, 1983’) Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2009/11/19/felony-1987/] (accessed 24/10/23) RELATED WORK Felony, 1983, synthetic polymer paint on canvas, 160.0 x 120.0 cm, private collection, Melbourne Felony, 1983, synthetic polymer paint on paper, 158.0 x 117.0 cm, Museum of Contemporary Art, Sydney: Gift of Loti Smorgon and Victor Smorgon, 1995 ESSAY In 1986, Howard Arkley painted one of his most confronting and realistic images, The Ritual, which depicted a figure about to insert a needle into an extended, torniquet-ed arm. Whether or not the subject matter reflected the artist’s own drug use at the time is now a moot point, but the painting was undeniably part of a small group of images from the 1980s which sought inspiration from the darker side of life and the harsh realities of inner urban living. This group includes Suicide, 1983; Ever Feel Like Drowning, 1987; and Felony, 1987 – which is a second version of a painting of the same title, originally produced in 1983.1   In 1981, Arkley moved from Chapel Street, Prahran to St Kilda, which was a haven of the punk and alternative music scenes and home to now iconic venues like the Crystal Ballroom. Arkley and his then-wife, artist Elizabeth Gower, had been introduced to punk in 1977 by New York-based Australian artist, Denise Green, who sent the pair to CBGBs during Arkley’s first trip to New York.2 Arkley continued to seek out punk gigs during their travels abroad, drawing influence from the unexpected nature of this wild new world:   ‘He had little to say about the music as such and was struck primarily by the mood of events, the gritty urban environment and the air of violence and threat. Punk was about the scene and the style. It represented mean streets, edgy behaviour and tight-knit, energetic subcultures.’3   The source image for Felony is a copy of the Boys Own Annual from the early 1950s, which was held in Arkley’s personal collection.4 When combined with the artist’s punk sensibility and high-keyed maximalist style however, these rather tame beginnings are transformed into a painting full of movement and potential threat – both that of being robbed, and of the felon being caught. With its tilting planes and competing decorative surfaces – the fluttering curtain, the brick wall, and the strange, cactus-like doodle forms just within the thief’s grasp – nothing sits still, creating a sense of tension and unease that belies the painting’s comic book style and Pop Art origins. Yet unlike the narrative journey of the comic book, where the action progresses from one gridded image to another, Arkley’s work is a singular frame, suspended in time and space without resolution.   The artist’s encounter with the work’s source as an image in reproduction was to increasingly influence his working method, and in turn, the way he both conceptualised and thought about his practice. Arkley emphasised the remove that the airbrush provided and celebrated the fact that his works weren’t handmade. Indeed, he saw his paintings as a form of ‘second-degree culture’ and wanted them to look ‘false’.5 As he said:   ‘I want my work to look like a reproduction of a painting, not be a painting. I want it to look like it was a slide or a book. I want it to look like the paintings that educated me, and I saw them in books and magazines and slides etc. I didn’t want any great globules of paint running down because in a book they don’t have that, they’re nice and flat and shiny.’6   Yet despite these intentions, there is, ironically, only one Howard Arkley, and in his distinctive subject matter and working methods he stands alone.   1. The Ritual, 1986 was controversially acquired by the State Library of Victoria in 1988. For images of these works see: https://www.arkleyworks.com/blog/2009/11/19/happenstance-1987/   2. McAuliffe, C., ‘Raw Power Meets Electronic Music Sounds: Howard Arkley and Popular Music’ in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 32. CBGBs is a small bar on the Bowery in New York, largely regarded as the birthplace of punk in the United States. In the 1970s it was an important venue for punk and new wave bands such as the Ramones, Blondie, Talking Heads, Misfits, Television, Patti Smith Group, The Dead Boys, The Dictators and The Cramps. 3. ibid. 4. Crawford, A., Spray: The Work of Howard Arkley, Craftsman House, Sydney, 2000, p. 65 5. Preston, E., Not Just a Suburban Boy, Duffy & Snellgrove, Potts Point, 2002, p. 224, cited in ‘Howard Arkley: Learning Resources’, National Gallery of Victoria, Melbourne: https://www.ngv.vic.gov.au/school_resource/howard-arkley/ (accessed 24 October 2023) 6. Wyzenbeek, A. (dir.), Howard’s Way, 1999, ABC TV Arts, 24 mins, excerpt at https://www.youtube.com/watch?v=YByGawnhx7E (accessed 24 October 2023)   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY, PHYSIOGNOMY, 1987
          Nov. 22, 2023

          HOWARD ARKLEY, PHYSIOGNOMY, 1987

          Est: $60,000 - $80,000

          HOWARD ARKLEY (1951 - 1999) PHYSIOGNOMY, 1987 synthetic polymer paint on canvas 163.0 x 122.0 cm signed and dated verso: Howard Arkley 87. signed, dated and inscribed with title verso: HOWARD ARKLEY / "Physiognomy" / 1987 PROVENANCE Private collection Deutscher~Menzies, Melbourne, 25 - 26 April 1999, lot 248 (as 'The Physiognomy') The Estate of the Late Alan Cardy, Sydney EXHIBITED Howard Arkley: Suburban urban messages, Roslyn Oxley9 Gallery, Sydney, 2 - 19 September 1987, cat. 11 (as 'Happenstance') Howard Arkley, Bellas Gallery, Brisbane, 13 June – 1 July 1989, cat. 2 Howard Arkley and Friends, TarraWarra Museum of Art, Victoria, 5 December 2015 – 28 February 2016 LITERATURE Crawford, A., and Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, revised edition 2001, p. 76 (illus. as 'Strange Fruit') Gregory, J.,  Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, pp. 169, 170, fig. 6.14 (illus.) Fitzpatrick, A., and Lynn, V.,  Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, pp. 95 (illus.), 143 Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2009/11/19/physiognomy-1987/] (accessed 9/10/23) ESSAY When Howard Arkley died in July 1999 just three days after his return to Melbourne following the enormous success of his exhibition The Home Show at the Venice Biennale, the career of one of Australia’s most highly productive and endlessly innovative contemporary artists was tragically cut short. However, as a painting such as Physiognomy, 1987 highlights, Arkley’s work never ceases to surprise and delight in both its unexpected combination of colour and form, and in its ability to continually reveal the artist’s idiosyncratic grab-bag approach to inspiration and making. As curator Anthony Fitzpatrick has astutely observed:   ‘…it was this kind of unresolved, liminal juncture between high and low, reality and simulation, planning and improvisation, rational and irrational, the abstracted and the constructed, detachment and involvement, firsthand experience and second degree quotation, that Arkley occupied throughout his entire career. From a seemingly endless flow of dislocated and disjointed cultural fragments, the artist generated and synthesised his own web of references and connections, a method and a structure that would underpin his potent, highly distinctive and instantly recognisable visual identity.’1   Physiognomy was first exhibited in September 1987 at Roslyn Oxley9 Gallery, Sydney under the name Happenstance, 1987 and was subsequently shown at Bellas Gallery, Brisbane in June 1989 under its present title.2 Part of a group of intriguing images that transformed cactus-like forms into strange humanoid creatures (with some more obviously bearing human body parts, such as arms and legs, often placed in anatomically impossible positions) the work was a creative and decorative extension of the artist’s exhibition Howard Arkley: C acti and Succulents held at Roslyn Oxley9 Gallery, Sydney in May 1984. The spiky, somewhat surreal forms of these plants obviously appealed to Arkley, who emphasised their structural qualities through his expressive and skilled use of the airbrush and celebratory combination of decorative elements.   While the work’s title refers to the capacity to determine a subject’s personality or character through their facial features, Arkley’s teardrop shaped ‘head’ remains blank, revealing nothing. This impenetrable visage, with its areas of rich block colour and dotted hairlike tendrils become the perfect foil for the shifting chromatic spectrum of Arkley’s complex crisscross background and black spray outline, which seem to physically pulse, and always hover, on the edge of focus. Drawing upon the imaginative lineage of Surrealism and Pop, Arkley often replaced the human head with a cactus in his drawings, and in turn, his first major portraits – Tattooed Head, 1983 (Collection TarraWarra Museum of Art) and Zappo Head, 1987 (Bendigo Art Gallery) – included several plant-like features.3 Over time, these cactus heads became ‘something of a signature for the artist’s persona – another alter ego and mask’.4 As Arkley’s wife and long-term assistant, Alison Burton has recalled:   ‘…I often associate [his cacti succulent works] as particularly characteristic of him. They were a motif Howard used many times in his sketches and doodles, meandering across newspapers, coasters and novels, anything that he could draw on. I think his cacti works to be rather like I remember him, spiky, quirky and sometimes chaotic, but also contained, thoughtful and ordered.’5   1. Fitzpatrick, A., ‘Sampling: The Art of Howard Arkley’ in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 22 2. John Gregory has since determined that Happenstance, 1987 is another composition : https://www.arkleyworks.com/blog/2009/11/19/happenstance-1987/ (accessed 24 October 2023) 3. See Lynn, op. cit., p. 62 and Fitzpatrick, op. cit., p. 18 4. Lynn, ibid. 5. ibid.   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY - ANAMORPHISM 1987 - ACRYLIC ON PAPER
          Nov. 21, 2023

          HOWARD ARKLEY - ANAMORPHISM 1987 - ACRYLIC ON PAPER

          Est: $28,000 - $35,000

          HOWARD ARKLEY (1951-1999) ANAMORPHISM 1987 Signed and dated 87 lower right Acrylic on paper 74.5 x 55cm Estimate $28,000/35,000 AUD

          GFL Fine Art
        • HOWARD ARKLEY 1951-1999 Shadow Factories 1991 synthetic polymer paint on canvas 175.5 x 135.5 cm
          Nov. 21, 2023

          HOWARD ARKLEY 1951-1999 Shadow Factories 1991 synthetic polymer paint on canvas 175.5 x 135.5 cm

          Est: $800,000 - $1,000,000

          HOWARD ARKLEY 1951-1999 Shadow Factories 1991 synthetic polymer paint on canvas signed, dated and inscribed 'Howard Arkley / 1991 / Shadow Factories' verso 175.5 x 135.5 cm PROVENANCE Howard Arkley, Melbourne Private Collection, Melbourne, acquired from the above in 1991 LITERATURE John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

          Smith & Singer
        • HOWARD ARKLEY 1951-1999 Sampler: Formal 1998 synthetic polymer paint on canvas 150 x 120 cm
          Nov. 21, 2023

          HOWARD ARKLEY 1951-1999 Sampler: Formal 1998 synthetic polymer paint on canvas 150 x 120 cm

          Est: $350,000 - $550,000

          HOWARD ARKLEY 1951-1999 Sampler: Formal 1998 synthetic polymer paint on canvas signed, dated and inscribed 'SAMPLER: FORMAL 1998 / Howard Arkley' verso 150 x 120 cm PROVENANCE Howard Arkley, Melbourne Tolarno Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 4 July 1999 EXHIBITED Howard Arkley, Tolarno Galleries, Melbourne, 28 November - 24 December 1998, no. 3 LITERATURE Ashley Crawford and Ray Edgar, Spray: The Work of Howard Arkley (rev. ed.), Craftsman House, Sydney, 2001, p. 136 (illustrated) John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

          Smith & Singer
        • HOWARD ARKLEY (1951-1999), Zappo Head, watercolour on silkscreen on paper, signed lower right "Howard Arkley", inscribed on verso "Howard Arkley Zappo Mask Screenprint Watercolour", 38cm x 27cm, 54.5cm x 39cm overall
          Nov. 19, 2023

          HOWARD ARKLEY (1951-1999), Zappo Head, watercolour on silkscreen on paper, signed lower right "Howard Arkley", inscribed on verso "Howard Arkley Zappo Mask Screenprint Watercolour", 38cm x 27cm, 54.5cm x 39cm overall

          Est: $1,500 - $2,000

          HOWARD ARKLEY (1951-1999), Zappo Head, watercolour on silkscreen on paper, signed lower right "Howard Arkley", inscribed on verso "Howard Arkley Zappo Mask Screenprint Watercolour", 38cm x 27cm, 54.5cm x 39cm overall

          Leski Auctions Pty Ltd
        • HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 5/499 96 x 76cm
          Nov. 15, 2023

          HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 5/499 96 x 76cm

          Est: $3,000 - $4,000

          HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 5/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 96 x 76cm PROVENANCE: Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, Deluxe Setting 1992, synthetic polymer paint on canvas, 173 x 135cm, Menzies, Melbourne, 27 June 2019, lot 32 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Triple Fronted 1988 archival pigment print, ed. 131/499 93 x 135cm
          Nov. 15, 2023

          HOWARD ARKLEY (1951-1999) Triple Fronted 1988 archival pigment print, ed. 131/499 93 x 135cm

          Est: $5,000 - $7,000

          HOWARD ARKLEY (1951-1999) Triple Fronted 1988 archival pigment print, ed. 131/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93 x 135cm PROVENANCE: Private collection, Melbourne OTHER NOTES: RELATED WORK: Triple Fronted 1987, synthetic polymer paint on canvas, 166.4 x 238.4 cm, The Collection of the Art Gallery of New South Wales, Sydney. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm
          Nov. 15, 2023

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm

          Est: $4,000 - $6,000

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93.5 x 72cm PROVENANCE: Private collection, Melbourne OTHER NOTES: "Howard Arkley and Nick Cave moved in overlapping circles in Melbourne in the late 1970s. One of the first two works commissioned by the Portrait Gallery, Arkley's painting of Cave was one of the last the artist completed before his death at the peak of his career. The portrait captures the punk mentality and attitude of both artist and sitter in Arkley's immaculately-finished, psychedelic and incandescent airbrush style." (National Portrait Gallery, Canberra) RELATED WORK: Nick Cave 1999, synthetic polymer paint on canvas, 175.2 x 135.2cm, The Collection of the National Portrait Gallery, Canberra. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Curvilinear with Grid 1978 synthetic polymer paint on canvas 203 x 78.5cm
          Oct. 24, 2023

          HOWARD ARKLEY (1951-1999) Curvilinear with Grid 1978 synthetic polymer paint on canvas 203 x 78.5cm

          Est: $30,000 - $40,000

          HOWARD ARKLEY (1951-1999) Curvilinear with Grid 1978 synthetic polymer paint on canvas signed, titled and dated verso: Curvilinear / with grid / 78 / H Arkley 203 x 78.5cm PROVENANCE: Private collection, Melbourne By inheritance from the above EXHIBITIONS: Howard Arkley: Recent Paintings, Tolarno Galleries, Melbourne, 9 – 20 May 1979 Howard Arkley, Coventry Gallery, Sydney, 4 – 22 March 1980, cat. no. 4 Howard Arkley, Monash University Gallery, Melbourne, 18 October - 30 November 1991, cat. no. 15 LITERATURE: Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2009/11/13/curvilinear-with-grid-1978/ (illus.) OTHER NOTES: Howard Arkley's subjects broadly extended from suburban houses and freeway overpasses, to zappo heads and pattern appropriations. When looking at the work of Howard Arkley and his extensive archives, the plethora of references is quickly apparent. Beneath each of Arkley's canvases is a complex history of ideas and experimentations from drawings, notes, clippings, photographs and more. Where some artists look to conceal their source material, Arkley placed it front and centre and even exhibited it alongside his paintings on at least one occasion. In Howard's diary from 1978, he demonstrates a clear influence from John Perreault's essay 'Issues in Pattern Painting', which discusses contemporary art and its characteristic of calling attention to that which is often invisible. Those artists that are 'pattern-conscious', such as Arkley, bring these invisible elements into focus. Above this reference in Arkley's diary, he scribed his mission: "I want to re-energise abstract painting". In the same year, Arkley and his wife Elizabeth Gower travelled to Europe and New York where he filled a small notebook with sketches and musings from different patterns he had sighted along the way. What appears to have struck him the most were the wrought-iron doorways. Upon returning to Australia, he continued this fascination and it was the provincial Australian fly-wire security door that provided a local equivalent. "I used the door format to arrive at my canvas proportion using what turned out to be unlimited variations of patterns and shapes."(1) The resulting paintings from this period are known as his 'door paintings', not only for their source material but also their size akin to a classic doorframe. These paintings were exhibited across shows in 1979 and 1980, referencing doors, sewing patterns and I Ching symbols. They demonstrate Arkley's 'pattern-conscious' approach, with free-flowing curves, curls and peaks reminiscent of wrought iron contained within the subtle grid-form of the doorframe. In Howard Arkley's paintings, elements of modern life become the protagonist whilst he challenges our notions of art and décor through his pattern-making. He makes no attempts to conceal his thought process, referencing his source material openly. Through his paintings, Arkley identified a new Australian art identity, positioning him as the foremost painter of Australian suburbia for which he is still recognised today. Olivia Fuller Head of Art (1) Fitzpatrick, A., Lynn, V., Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, p.12 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • A Howard Arkley mixed media.
          Oct. 15, 2023

          A Howard Arkley mixed media.

          Est: $500 - $800

          A Howard Arkley mixed media. House study. Signed lower right. 28 x 40 cm (without frame).

          E J Ainger
        • Howard Arkley Screenprint 10/100 house
          Oct. 01, 2023

          Howard Arkley Screenprint 10/100 house

          Est: $1,000 - $1,500

          Howard Arkley [ 1951-1999] "Triple Fronted Brick Veneer" screenprint 10/100 38cm x 54cm facsimile signature lower right

          Kim's Auction
        • HOWARD ARKLEY (1951-1999), Triple Fronted 1988
          Aug. 30, 2023

          HOWARD ARKLEY (1951-1999), Triple Fronted 1988

          Est: $4,000 - $6,000

          HOWARD ARKLEY (1951-1999) Triple Fronted 1988 giclée print 51.0 x 74.0 (image); 59.0 x 82.0 cm (sheet) edition: 105/499 digitally signed lower right: Howard Arkley numbered lower left: 105/499 artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne (attached verso)

          Menzies
        • HOWARD ARKLEY (1951-1999), House with Native Tree 1996
          Aug. 30, 2023

          HOWARD ARKLEY (1951-1999), House with Native Tree 1996

          Est: $3,000 - $5,000

          HOWARD ARKLEY (1951-1999) House with Native Tree 1996 giclée print 67.5 x 51.0 (image); 75.5 x 59.0 cm (sheet) edition: 108/499 digitally signed lower right: Howard Arkley numbered lower left: 108/499 artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne (attached verso)

          Menzies
        • Howard Arkley (1951-1999) Ornamentik, c.1981
          Aug. 29, 2023

          Howard Arkley (1951-1999) Ornamentik, c.1981

          Est: $100,000 - $150,000

          Howard Arkley (1951-1999) Ornamentik, c.1981 synthetic polymer paint on canvas 200.0 x 120.0cm (78 3/4 x 47 1/4in).

          Bonhams
        • Howard Arkley hand coloured screen print 40x 29
          Jul. 30, 2023

          Howard Arkley hand coloured screen print 40x 29

          Est: $2,000 - $3,000

          Howard Arkley [1951-1999] ZAPPO HEAD hand coloured screenprint 40cm x 29cm signed lower right

          Kim's Auction
        • Howard Arkley giclee print 14/20 78cm x 107cm
          Jul. 30, 2023

          Howard Arkley giclee print 14/20 78cm x 107cm

          Est: $4,000 - $6,000

          Howard Arkley [ 1951-1999] TRIPLE FRONTED BRICK VENEER giclee print edition 14/20 78cm x 107cm facsimile signature

          Kim's Auction
        • Howard Arkley giclee print 38x 54cm 10/100
          Jul. 30, 2023

          Howard Arkley giclee print 38x 54cm 10/100

          Est: $1,500 - $2,500

          Howard Arkley [1951-1999] TRIPLE FRONTED BRICK VENEER giclee print 38cm x 54cm 10/100 facsimile signature signed lower right

          Kim's Auction
        • HOWARD ARKLEY (1951-1999) House with Native Tree digital giclée print, ed. 114/499 93 x 70cm
          Jul. 19, 2023

          HOWARD ARKLEY (1951-1999) House with Native Tree digital giclée print, ed. 114/499 93 x 70cm

          Est: $2,600 - $3,600

          HOWARD ARKLEY (1951-1999) House with Native Tree digital giclée print, ed. 114/499 printed signature lower right artist's estate embossment lower left editioned lower left 93 x 70cm PROVENANCE: Expressions Gallery, Melbourne Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, House with Native Tree 1996, synthetic polymer paint on canvas, 203 x 153cm, private collection, Melbourne © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Nick Cave digital giclée print, ed. 9/499 92.5 x 71.5cm
          Jul. 19, 2023

          HOWARD ARKLEY (1951-1999) Nick Cave digital giclée print, ed. 9/499 92.5 x 71.5cm

          Est: $3,000 - $4,000

          HOWARD ARKLEY (1951-1999) Nick Cave digital giclée print, ed. 9/499 printed signature lower right artist's estate embossment lower left editioned lower left 92.5 x 71.5cm PROVENANCE: Expressions Gallery, Melbourne Private collection, Melbourne OTHER NOTES: "Howard Arkley and Nick Cave moved in overlapping circles in Melbourne in the late 1970s. One of the first two works commissioned by the Portrait Gallery, Arkley's painting of Cave was one of the last the artist completed before his death at the peak of his career. The portrait captures the punk mentality and attitude of both artist and sitter in Arkley's immaculately-finished, psychedelic and incandescent airbrush style." (National Portrait Gallery, Canberra) RELATED WORK: Howard Arkley, Nick Cave 1999, synthetic polymer paint on canvas, 175.2 x 135.2cm, The Collection of the National Portrait Gallery, Canberra. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Triple Fronted digital giclée print, ed. 111/499 66.5 x 97cm
          Jul. 19, 2023

          HOWARD ARKLEY (1951-1999) Triple Fronted digital giclée print, ed. 111/499 66.5 x 97cm

          Est: $4,000 - $5,000

          HOWARD ARKLEY (1951-1999) Triple Fronted digital giclée print, ed. 111/499 printed signature lower right artist's estate embossment lower left editioned lower left 66.5 x 97cm PROVENANCE: Expressions Gallery, Melbourne Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, Triple Fronted 1987, synthetic polymer paint on canvas, 166.4 x 238.4cm, The Collection of the Art Gallery of New South Wales, Sydney. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • Howard Arkley, (Australia, 1951-99), "Zappo Head", hand coloured screenprint on paper Ed. 2/20, 36.5 x 28.5 cm. (14.3 x 11.2 in.), Frame: 44.5 x 36.5 cm. (17.5 x 14.3 in.)
          Jun. 05, 2023

          Howard Arkley, (Australia, 1951-99), "Zappo Head", hand coloured screenprint on paper Ed. 2/20, 36.5 x 28.5 cm. (14.3 x 11.2 in.), Frame: 44.5 x 36.5 cm. (17.5 x 14.3 in.)

          Est: -

          Howard Arkley (Australia,, 1951-99) "Zappo Head", hand coloured screenprint on paper Ed. 2/20 signed, titled & numbered below image

          Bargain Hunt Auctions
        • Howard Arkley (1951-1999)
          Jun. 04, 2023

          Howard Arkley (1951-1999)

          Est: $3,500 - $5,000

          Howard Arkley ( 1951-1999)- Triple fronted Brick Veneer, Giclee print , 78X107cm, facsimile signature lower right

          Kim's Auction
        • HOWARD ARKLEY - PSYCHEDELIC - ACRYLIC ON CANVAS
          May. 23, 2023

          HOWARD ARKLEY - PSYCHEDELIC - ACRYLIC ON CANVAS

          Est: $180,000 - $250,000

          HOWARD ARKLEY (1951-1999) PSYCHEDELIC Signed and dated 78 verso Acrylic on canvas 204 x 157cm Estimate $180,000/250,000 AUD

          GFL Fine Art
        • HOWARD ARKLEY 1951-1999 Psychedelic Head 1990 synthetic polymer paint on canvas
          May. 02, 2023

          HOWARD ARKLEY 1951-1999 Psychedelic Head 1990 synthetic polymer paint on canvas

          Est: $250,000 - $350,000

          HOWARD ARKLEY 1951-1999 Psychedelic Head 1990 synthetic polymer paint on canvas 175 x 135 cm PROVENANCE Howard Arkley, Melbourne Tolarno Galleries, Melbourne Private Collection, Melbourne, acquired from the above in 1990 Fine Australian Paintings, Sotheby's Australia, Melbourne, 26 April 1992, lot 392, illustrated Private Collection, Sydney, acquired from the above Private Collection, Melbourne Fine Australian Art, Sotheby's Australia, Melbourne, 4 May 2004, lot 32, illustrated Selwyn and Renata Litton, Sydney, acquired from the above EXHIBITED Howard Arkley: The Head Show, Tolarno Galleries, Melbourne, 19 October - 10 November 1990, no. 4 Howard Arkley, Monash University Gallery, Melbourne, 18 October - 30 November 1991, no. 79, illustrated Winter Exhibition 1999, Kozminsky Galleries, Melbourne, 1999, no. 47, illustrated Howard Arkley, Metro5 Gallery, Melbourne, 6-24 February 2002, no. 11, illustrated Howard Arkley, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 17 November 2006 - 25 February 2007; Art Gallery of New South Wales, Sydney, 10 March - 6 May 2007; Gallery of Modern Art, Queensland Art Gallery, Brisbane, 6 July - 16 September 2007 (label verso) Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 5 December 2015 - 28 February 2016, illustrated (label verso) LITERATURE Virginia Trioli, '"Head Show" Exhibition is a Myth You Can Take at Face Value', The Age, Melbourne, 26 October 1990, p. 16 Jenepher Duncan (ed.), Howard Arkley, Monash University Gallery, Melbourne, 1991, pp. 31, 38 (illustrated), 42 Art + Text, Melbourne, No. 41, January 1992, cover (illustrated) Ashley Crawford and Ray Edgar, Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, pp. 98, 99 (illustrated), 101 The Age, Melbourne, 26 July 1999, p. 5 (illustrated) Winter Exhibition 1999, Kozminsky Galleries, Melbourne, 1999, pp. 80, 81 (illustrated) Ashley Crawford and Ray Edgar, Spray: The Work of Howard Arkley (rev. ed.), Craftsman House, Sydney, 2001, pp. 98, 99 (illustrated), 101 David Thomas, Howard Arkley, Metro5 Gallery, Melbourne, 2002, n.p. (illustrated) Kate Hart, 1788-21st Century Australian Faces, Creative School Supply Co., Melbourne, 2003, (illustrated) Tim Jamieson, 'We Reveal Australia's Most Important Painting', The Herald Sun Weekend, Melbourne, 6 March 2004, (illustrated) John Gregory, Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, figure 6.29, pp. 1, 106, 107, 134, 177, 181 (illustrated), 182, 214 Jason Smith, Howard Arkley, National Gallery of Victoria, Melbourne, 2006, p. 20 (illustrated) Anthony Fitzpatrick and Victoria Lynn, Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, pp. 18, 19, 101 (illustrated), 143 John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

          Smith & Singer
        • Howard Arkley Triple fronted Brick Veneer
          Apr. 23, 2023

          Howard Arkley Triple fronted Brick Veneer

          Est: $1,200 - $1,600

          Howard Arkley ( 1951-1999)- Triple fronted Brick Veneer, Giclee print, 37x54cm, facsimile signature lower right

          Kim's Auction
        • Howard Arkley, (Australia, 1951-99), "Zappo Head", hand coloured screenprint on paper Ed. 2/20, 36.5 x 28.5 cm. (14.3 x 11.2 in.), Frame: 44.5 x 36.5 cm. (17.5 x 14.3 in.)
          Apr. 10, 2023

          Howard Arkley, (Australia, 1951-99), "Zappo Head", hand coloured screenprint on paper Ed. 2/20, 36.5 x 28.5 cm. (14.3 x 11.2 in.), Frame: 44.5 x 36.5 cm. (17.5 x 14.3 in.)

          Est: -

          Howard Arkley (Australia,, 1951-99) "Zappo Head", hand coloured screenprint on paper Ed. 2/20 signed, titled & numbered below image

          Bargain Hunt Auctions
        • HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946 ) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych
          Apr. 05, 2023

          HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946 ) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych

          Est: $45,000 - $55,000

          HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946 ) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych signed and editioned upper left: P/P III/III Juan Davila initialled and dated within image lower left: HA. 91. initialled and dated within image lower right: Davila 92. titled upper right within image 163 x 108cm (each, sheet); 163 x 216cm (overall) PROVENANCE: The Estate of Larry Rawling EXHIBITIONS: You Are Here, Institute of Modern Art, Brisbane, 5 - 28 November 1992 (another impression) You Are Here, Australian Centre for Contemporary Art, Melbourne, 4 March - 4 April 1993 (another impression) Icon Interior, Kalli Rolfe Contemporary Art, Australian National University Drill Hall Gallery, Canberra, 2001 (another impression) Heide Museum of Modern Art, Melbourne, 24 November 2001 - 17 February 2002, cat. no. 17 (another impression) Juan Davila, Prints and Drawings 1980s - 2005, Kalli Rolfe Contemporary Art, Melbourne, 2005 (another impression) Juan Davila and Howard Arkley: Masters of Contemporary Collaboration, Benalla Art Gallery, Victoria, 1 October - 20 November 2011 (another impression) LITERATURE: Gregory, J., Howard Arkley and Juan Davila: Icon Interior 1994-2001, Kalli Rolfe Contemporary Art, Melbourne, 2001, p. 5 (another impression) Crawford, A., A Person Looks at a Work of Art...: The Michael Buxton Contemporary Australian Art Collection, Heide Museum of Modern Art, Melbourne, cat. no. 17 (illus., another impression) Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, cat. no. 5.12, p.149 (illus. p.152, another impression) Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2009/12/08/interior-with-built-in-bar-1992-wp-howard-arkley-juan-davila/ (illus., another impression) OTHER NOTES: Juan Davila and Howard Arkley had an extensive collaborative partnership that evolved over many years and led to the production of three-dimensional installations, silkscreen prints, paintings and works on paper. Interior with Built-in Bar 1992 is a major screenprint collaboration that signifies a momentus shift in their partnership. Howard Arkley and Juan Davila's collaborations have made a significant impact on art history in Australia and demonstrated the possiblities of artistic partnerships that, until more recently, has been greatly underappreciated. In 1992, Juan Davila was already well known for his sharp political paintings and Howard Arkley for his domestic interiors. Aesthetically, the work of Arkley and Davila did not typically speak the same language. While Arkley took a cleaner approach to his paintwork, and frequently drew upon appropriation and manipulation of existing images, Davila was far more gestural, with his work driven by political commentary and the mainstream media. In contrast, too, Arkley was more naturally inclined to accept the role of collaborator, as he had done previously, whilst for Davila it was new territory. The two artists continued to push the boundaries for each other, challenge eachother, right up to the point where ego would normally want to take over but there remained a harmony to the process. Arkley and Davila presented their first major collaborative installation, Blue Chip Instant Decorator: A Room, at Tolarno Galleries in 1991. Shortly after this the pair created the original gouache, and resulting screenprint Interior with Built in Bar 1992, a work which demonstrates the union between the two and the balanced merging of their two artistic styles. The composition of Interior with Built in Bar displays picture frames lopsided and an inversion of floor to ceiling, reflecting Davila's vision of the interior whilst responding to Arkley's perspective. Interior with Built in Bar deliberately and successfully "blurs the signifiers of authorship" . Arkley and Davila's Interior with Built-in-Bar 1992 was the final resulting collaboration between the pair, completed by Davila after Arkley's death. We can identify more than one author within the work, but the focus is not to be on who created what, but rather how the two hands at work responded to eathother's strengths and limitations as artists and collaborated in the truest sense of the word. Olivia Fuller Head of Art Other impressions of this print are held in the permanent collections of the Benalla Art Gallery, Victoria; Buxton Contemporary, Melbourne; and National Gallery of Australia, Canberra. RELATED WORK: Howard Arkley and Juan Davila, Interior with Built-in-Bar 1992, gouache on paper with silkscreen detailing, diptych, 159 x 216cm (sheet, overall), Leonard Joel, Melbourne, 9 May 2022, lot 20. © The Estate of Howard Arkley and Juan Davila, Courtesy Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY hand cooured screenprint
          Mar. 19, 2023

          HOWARD ARKLEY hand cooured screenprint

          Est: $2,000 - $3,000

          HOWARD ARKLEY (1951-1999) Zapppo Head Hand coloured screenprint 41x29cm Signed lower right

          Kim's Auction
        • Howard Arkley, (Australia, 1951-99), "Zappo Head", hand coloured screenprint on paper Ed. 2/20, 36.5 x 28.5 cm. (14.3 x 11.2 in.), Frame: 44.5 x 36.5 cm. (17.5 x 14.3 in.)
          Mar. 06, 2023

          Howard Arkley, (Australia, 1951-99), "Zappo Head", hand coloured screenprint on paper Ed. 2/20, 36.5 x 28.5 cm. (14.3 x 11.2 in.), Frame: 44.5 x 36.5 cm. (17.5 x 14.3 in.)

          Est: -

          Howard Arkley (Australia,, 1951-99) "Zappo Head", hand coloured screenprint on paper Ed. 2/20 signed, titled & numbered below image

          Bargain Hunt Auctions
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