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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, (1951 - 1999), Nick Cave, archival pigment print, ed. 34/499, 69 x 53.5 cm (image): 74.5 x 59 cm (sheet): (frame: 107 x 91 x 3 cm)
    Sep. 02, 2026

    HOWARD ARKLEY, (1951 - 1999), Nick Cave, archival pigment print, ed. 34/499, 69 x 53.5 cm (image): 74.5 x 59 cm (sheet): (frame: 107 x 91 x 3 cm)

    Est: $6,000 - $8,000

    HOWARD ARKLEY (1951 - 1999) Nick Cave archival pigment print, ed. 34/499 edition 34/499, numbered lower left with artist's embossed seal. Signed: Artists signature printed lower right. Provenance: Work accompanied by certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne.

    Lawsons
  • HOWARD ARKLEY (1951-1999), The Triffids 1985
    Aug. 27, 2026

    HOWARD ARKLEY (1951-1999), The Triffids 1985

    Est: $3,000 - $5,000

    PROPERTY FROM A PRIVATE COLLECTION, SOUTH AUSTRALIA HOWARD ARKLEY (1951-1999) The Triffids 1985 synthetic polymer paint on offset lithograph 69.0 x 56.5 cm (image); 101.0 x 71.0 cm (sheet); 106.0 x 76.0 cm (framed) signed and dated lower right: H Arkley 85 signed and dated within image lower right: H. ARKLEY. 85. PROVENANCE Acquired from the artist, private collection, South Australia LITERATURE Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p.169 Gregory, J., 'The Triffids [poster] 1985 [W/P]', Arkley Works [digital catalogue raisonné] (accessed July 2026): https://www.arkleyworks.com/blog/2009/11/17/the-triffids-poster-1985-wp/

    Menzies
  • HOWARD ARKLEY 1951-1999 Sampler: Traditional 1998 synthetic polymer paint on canvas signed, dated and inscribed ‘SAMPLER: TRADITIONAL /
    Aug. 25, 2026

    HOWARD ARKLEY 1951-1999 Sampler: Traditional 1998 synthetic polymer paint on canvas signed, dated and inscribed ‘SAMPLER: TRADITIONAL /

    Est: $250,000 - $350,000

    HOWARD ARKLEY 1951-1999 Sampler: Traditional 1998 synthetic polymer paint on canvas signed, dated and inscribed ‘SAMPLER: TRADITIONAL / 1998 / Howard Arkley' verso 150.5 x 120.5 cm PROVENANCE Howard Arkley, Melbourne Tolarno Galleries, Melbourne Private Collection, Victoria, acquired from the above in January 1999 EXHIBITED Howard Arkley, Tolarno Galleries, Melbourne, 28 November – 24 December 1998, no. 6 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, Australia (1951 - 1999), Laminate Bracket, 1998, synthetic polymer on board on canvas, panel: 41 x 41 cm; bracket: 40 x 70 x 53 cm
    Jun. 29, 2026

    HOWARD ARKLEY, Australia (1951 - 1999), Laminate Bracket, 1998, synthetic polymer on board on canvas, panel: 41 x 41 cm; bracket: 40 x 70 x 53 cm

    Est: $15,000 - $25,000

    HOWARD ARKLEY Australia, (1951 - 1999) Laminate Bracket, 1998 synthetic polymer on board on canvas titled, signed and dated to base: Laminate Bracket / 1998/ Howard Arkley canvas signed and dated verso: Howard Arkley/ 98 canvas inscribed verso: LM/ PGFA 605-06

    Lawsons
  • HOWARD ARKLEY (1951-1999), Untitled (Study for Muzak Mural) circa 1982
    Jun. 15, 2026

    HOWARD ARKLEY (1951-1999), Untitled (Study for Muzak Mural) circa 1982

    Est: $3,000 - $5,000

    HOWARD ARKLEY (1951-1999) Untitled (Study for Muzak Mural) circa 1982 synthetic polymer paint and ink on paper 28 x 20cm PROVENANCE Gift from the artist, circa 1997 The Estate of Dr Ashley Crawford LITERATURE Howard Arkley Online Catalogue Raisonne: https://www.arkleyworks.com/blog/2026/05/26/untitled-study-for-muzak-mural-c-1982-w-p/ (accessed May 2025) © The Estate of Howard Arkley, Courtesy Kalli Rolfe Contemporary Art

    Gibson's
  • HOWARD ARKLEY (1951-1999), Study for Succulent 1985
    Jun. 15, 2026

    HOWARD ARKLEY (1951-1999), Study for Succulent 1985

    Est: $1,000 - $2,000

    HOWARD ARKLEY (1951-1999) Study for Succulent 1985 ink on paper signed with initials and dated lower right: H A 85 14 x 10cm PROVENANCE Gift from the artist The Estate of Dr Ashley Crawford © The Estate of Howard Arkley, Courtesy Kalli Rolfe Contemporary Art

    Gibson's
  • Howard Arkley, Giclee print.
    Jun. 03, 2026

    Howard Arkley, Giclee print.

    Est: $800 - $1,200

    Howard Arkley, Giclee print. Zappo Head, signed lower right. 40 x 30 cm.

    E J Ainger
  • Howard Arkley, Neocummgii, 1984
    May. 19, 2026

    Howard Arkley, Neocummgii, 1984

    Est: $22,000 - $25,000

    Howard Arkley (1951 - 1999) Neocummgii, 1984 also known as Stapelia-Peduncle synthetic polymer paint on paper 55.0 x 76.0 cm (sheet) 82.0 x 107.0 cm (frame) signed and dated lower left: Howard Arkley 85 [sic] signed and dated verso: Howard Arkley / 1985 [sic] signed, dated and inscribed on label verso: Howard Arkley / 1986 [sic] / Stapelia-peduncle PROVENANCE Tolarno Galleries, Melbourne (label attached verso) Sotheby's, Melbourne, 2 May 2000, lot 105 (as 'Stapelia-Peduncle, 1986') Private collection, Queensland Leonard Joel, Melbourne, 6 September 2016, lot 198 (as ‘The Stapelia Peduncle, 1986’) Private collection, Melbourne Menzies, Sydney, 29 November 2023, lot 89 (as 'Stapelia-Peduncle, 1985') Private collection, Queensland EXHIBITED Howard Arkley: Cacti and Succulents, Roslyn Oxley9, Sydney, 10 – 26 May 1984, cat. 4 LITERATURE Crawford, A. and Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 72 Howard Arkley Online Catalogue Raisonné: https://www.arkleyworks.com/blog/2009/11/19/neocummgii-1984-wp/ (accessed April 2025) © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art This work is located in our Melbourne Gallery

    Deutscher and Hackett
  • HOWARD ARKLEY (1951-1999) Primitive Gold 1984 synthetic polymer paint on canvas 105.5 x 105.5cm
    May. 18, 2026

    HOWARD ARKLEY (1951-1999) Primitive Gold 1984 synthetic polymer paint on canvas 105.5 x 105.5cm

    Est: $50,000 - $70,000

    HOWARD ARKLEY (1951-1999) Primitive Gold 1984 synthetic polymer paint on canvas signed, titled and dated verso: Howard Arkley/ Primitive Gold/ 1984. artist's name and title on gallery label verso 105.5 x 105.5cm PROVENANCE: Gift of the Artist Private collection, Melbourne Thence by descent EXHIBITIONS: Howard Arkley: Urban Paintings, Quentin Gallery, Perth, 7 February - 3 March 1985, cat. no. 6 (label verso) OTHER NOTES: "Primitive Gold" 1984, a characteristic example of Arkley's rapidly evolving style during the first half of the 1980s, was first documented in the artist's "Urban Paintings" exhibition held at the Quentin Gallery in Perth in February-March 1985. It was shown alongside Primitive Silver, also dated 1984, later auctioned by Leonard Joel in November 1994. Both paintings were the latest in a series of sequence of variants of Arkley's remarkable mural-scale drawing, Primitive, installed at the former Prahran College of Advanced Education in July 1981, its title borrowed from a song recorded months earlier by US punk band The Cramps. (1) Freely sprayed in black air-brushed outline on 20 sheets of paper taped to the wall, Primitive engaged directly with Arkley's everyday and imaginative life in the inner Melbourne suburbs of Prahran and St Kilda, breaking abruptly with the style of his earlier, often meticulously crafted abstract and patterned works. It also initiated a new phase of figurative compositions, dominated by his wiry, energetic sprayed line-work, addressing edgy themes from suburbia to suicide, and referencing various sources including tattooing, billboards, comic books, and the music and street style of the era. Some years later, as quoted in Ashley Crawford and Ray Edgar's monograph "Spray" (1997), Arkley recalled the creation of Primitive in a single day and night, with the exhibition deadline looming. Allowing for some poetic licence, this account clearly explains several details in the work, a telephone ringing, a knock at the studio door, and so on. Many other motifs, though, were based on the idiosyncratic doodles the artist had sketched in his earlier sketchbooks and visual diaries, tapping his dreams and daydreams in the manner of the "automatic drawing" typical of Surrealism, a key inspiration for Arkley, both in his formative years and later. (2) In 1982, "Primitive Gold" and "Primitive Silver", two large-scale square canvases developed from the 1981 drawing, were shown in Paul Taylor's influential "Popism" exhibition at the National Gallery of Victoria, adding new details including snatches of text apparently from a letter or conversation. "Primitive Gold" 1984 and its silver twin clearly echo the 1982 paintings, on a more modest, domestic scale, with some variations. The present canvas reprises several motifs directly from Primitive, such as the large headless figure at top left here, the small grinning creature with tentacles (lower left), the eccentric creature with its eyes in a box and a floral body (top centre), the small headless man nearby, and the prominent distorted skull and crossbones at centre right, suggesting a fluttering "Jolly Roger" pirate flag (compare the same motif towards the right in the 1981 work). A favourite Arkley image, the skull and crossbones recurred in several paradoxically lively versions in the old Mills & Boon novels he used as sketchbooks around 1984, and, a few years later, the skull morphed into the artist's trademark "Zappo Head". Other details in the present canvas are new to the "Primitive" repertoire, including a stylized female figure on stilts at upper left, and a plant (or is it a dog with multiple teats?) in the lower left corner, a motif clearly related to the cacti and succulents, often ambiguously human or animal in form, at once real and surreal, already beginning to preoccupy the artist by the time Primitive Gold and its twin were exhibited early in 1985. A spiky cactoid form lying on its side in the present canvas, below the pirate flag, also points towards that development, although a number of cacti already appear in Primitive and other late 1970s/early 80s drawings and sketches. Soon afterwards, with key 1986-87 exhibitions at his home gallery of Tolarno in Melbourne, and Roslyn Oxley9 in Sydney, Arkley turned definitively to the suburban imagery for which he is best known now. By the 1990s, his work had developed far beyond his boisterous, "primitive" early 80s style, marked by increasingly nuanced colour and patterning, a more complex view of the modern city also including factories, freeways and suburban interiors, and a series of stylized heads and faces. One final point may be made, in relation to the often-voiced view that Arkley's air-brushed line-work is related to graffiti. The artist himself was wary of accepting this idea unreservedly, as he said in a 1989 interview. (3) Even so, the dense black linear forms on a dark gold background, in the present work, do bring to mind graffiti on a masonry wall. Arkley knew the style, of course (he photographed early examples of graffiti while visiting New York in 1977), and was later particularly interested in the related works of Keith Haring, whom he met when the young US artist visited Melbourne early in 1984. (4) Arkley actually used the term in his inscribed title on the 1983 painting Winds of War Graffiti (originally shown as Billboard), featuring various figures and forms sprayed, graffiti-style, directly over a film poster. John Gregory (John Gregory taught history and theory of art at Monash University before retiring in 2010. He is the author and administrator of Arkley Works, the online catalogue of Howard Arkley's accepted works.) (1) For all Arkley works and related details, see the catalogue entries in https://arkleyworks.com. For Primitive, see also Crawford, A. & Edgar R., Spray: The Work of Howard Arkley, Craftsman House, 1997, pp. 6-9, and my own earlier discussions in Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, 2006, pp. 165-169, and "Popism, Postpunk and Primitive", in Anthony Fitzpatrick & Victoria Lynn (ed.), Howard Arkley and Friends, Tarra Warra Museum of Art, 2015, pp. 26-28 (2) Gregory, J. Things are never what they seem: Howard Arkley and Surrealism, 18 September 2025, World Art, DOI: 10.1080/21500894.2025.2556652 (3) Brown, R., Spraying the Suburban Dream: Howard Arkley, Tension vol. 18, October 1989, pp. 35-39 (4) Engberg, J. & others, Caterpillars and Computers: Keith Haring in Australia, Melbourne: ACCA, 2012, esp. p. 41 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art, 2026

    Leonard Joel
  • Howard Arkley, synthetic polymer on paper, interior scene from mix & match series 1992, signature hidden on verso. Provenance, from artist to Ian Morton collection to current vendor. 54 x 74 cm
    May. 13, 2026

    Howard Arkley, synthetic polymer on paper, interior scene from mix & match series 1992, signature hidden on verso. Provenance, from artist to Ian Morton collection to current vendor. 54 x 74 cm

    Est: $20,000 - $30,000

    Howard Arkley, synthetic polymer on paper, interior scene from mix & match series 1992, signature hidden on verso. Provenance, from artist to Ian Morton collection to current vendor. 54 x 74 cm

    Woodlands Auctions
  • HOWARD ARKLEY (1951-1999), The Triffids 1985
    May. 07, 2026

    HOWARD ARKLEY (1951-1999), The Triffids 1985

    Est: $3,000 - $5,000

    PROPERTY FROM A PRIVATE COLLECTION, SOUTH AUSTRALIA HOWARD ARKLEY (1951-1999) The Triffids 1985 synthetic polymer paint on offset lithograph 69.0 x 56.5 cm (image); 101.0 x 71.0 cm (sheet); 106.5 x 76.0 cm (framed) signed and dated lower right: H Arkley 85. signed and dated within image lower right: H. ARKLEY. 85.

    Menzies
  • HOWARD ARKLEY (1951-1999), Brick Bracket 1998
    May. 07, 2026

    HOWARD ARKLEY (1951-1999), Brick Bracket 1998

    Est: $15,000 - $25,000

    PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE HOWARD ARKLEY (1951-1999) Brick Bracket 1998 synthetic polymer paint on canvas and wood 40.5 x 70.0 x 53.5 cm signed, dated and inscribed verso of canvas: Howard Arkley 98 BB signed, dated and inscribed verso of wooden bracket: BRICK BRACKET/ 1998/ Howard Arkley

    Menzies
  • Howard Arkley (1951-1999) Freeway (Exit), 1995
    May. 05, 2026

    Howard Arkley (1951-1999) Freeway (Exit), 1995

    Est: $800,000 - $1,200,000

    Howard Arkley (1951-1999) Freeway (Exit), 1995 signed and dated verso: 'Howard Arkley 95' signed, dated and inscribed verso: Name Howard Arkley / Title Freeway (Exit) / Date 1995 / Size 1500 x 2000 / Medium Acrylic on Canvas' synthetic polymer paint on canvas 200.0 x 150.0cm (78 3/4 x 59 1/16in).

    Bonhams
  • Howard Arkley, Stillife "Tulips", 1996
    Apr. 29, 2026

    Howard Arkley, Stillife "Tulips", 1996

    Est: $150,000 - $250,000

    Howard Arkley (1951 - 1999) Stillife "Tulips", 1996 synthetic polymer paint on canvas 135.0 x 120.0 cm signed, dated and inscribed with title verso: Howard Arkley / Stillife “Tulips” / 1996 / Acrylic on Canvas / Howard Arkley 96 PROVENANCE Tolarno Galleries, Melbourne Private collection, Germany, acquired from the above in November 1996 EXHIBITED Tolarno Galleries at Art Cologne, Cologne, Germany, 10 – 17 November 1996 LITERATURE Ericsson Telecommunications company brochure, 1996 (illus.) Howard Arkley Online Catalogue Raisonné: https://www.arkleyworks.com/blog/2026/02/05/stillife-tulips-1996/ (accessed February 2026) Arkley produced three variants of earlier works for a proposed collaboration with Ericsson: Explosion, Stillife "Tulips", and Zappo (all 1996), all three were amongst the five works exhibited at Art Cologne, Germany 1996. RELATED WORK Stil life, Tulips, 1995, synthetic polymer paint on canvas, 135.0 x 119.5 cm, private collection, sold Deutscher and Hackett, Melbourne, 9 May 2007, lot 44 Still life Tulips, c.1997, synthetic polymer paint on canvas, 130.0 x 125.0 cm, collection unknown ESSAY A master of revisiting and resampling his own works, the theme of the still life appears intermittently across Howard Arkley’s oeuvre. First materialising in 1986 (see Tulips and spotted vase, Deutscher and Hackett, Important Australian + International Fine Art, Melbourne, 26 November 2024, lot 24), vases of petunias – and, more often, tulips – emerge from amongst his iconic suburban imagery right up until the artist’s death in 1999. Well-versed in art history, Arkley’s Stillife "Tulips", 1996 is a Day-Glo contemporary nod to the vanitas tradition, with the blousy open blooms of the tulips and their joyous pops of colour serving as a poignant reminder of the transience of both beauty and life. The open and wilting tulips seem to strain against the strength and containment of Arkley’s assured airbrushed outlines, creating a tension in the work between the exuberance of the artist’s imagery and deft handling of paint and the rich symbolism of the flower within momento mori (translating as ‘remember you must die’ in Latin). Given Arkley’s well-known love of decoration and ornamentation, Stillife "Tulips" is a relatively restrained painting; the product an artist at the height of his powers who can command our attention with a mesmerising combination of elegant, fluid linework and an innate understanding of complementary colour and its impact (seen here in the opposition between the bright blue and orange, and pink-violet and green). An admirer of Swiss-born German artist Paul Klee, who coined the notion of drawing as ‘taking a line for a walk’1, Arkley confessed early in his career: ‘I draw rather than paint.’2 Arkley’s work has often been compared to American and British Pop artists Roy Lichtenstein and Patrick Caulfield, whose practice shared a penchant for areas of bold flat colour and the depiction of everyday utilitarian objects such as vases, bowls and jugs. However, on this occasion the fascinating story behind Stillife "Tulips" is more akin to the crossover potential of the ultimate Pop artist, Andy Warhol, who late in his career balanced his own interview segment on MTV ( Andy Warhol’s Fifteen Minutes, 1985 – 87), and appearances on a Japanese TV commercial (TDK video tapes, 1983) and the long-running American TV series The love boat (1985), with the making of art. In 1996, Arkley was commissioned to produce Stillife "Tulips", and two other works – Explosion, 1996 (National Gallery of Victoria) and 96 Zappo, 1996 for the Australian arm of the Swedish telecommunications company Ericsson.3 Inspired by the success of the European version of the company’s ‘The Art of Communication’ project, which saw three works by a star-studded range of artists (Karel Appel, Keith Haring, Pablo Picasso, László Moholy-Nagy, Antoni Tàpies, and Ulrica Hydman-Vallien) reproduced as interchangeable covers (or ‘flips’) for the Ericsson flip phone, Arkley’s paintings were intended to appear on a new limited edition series of the Ericsson GF388 mobile phone. Australian heavyweight John Olsen and Ricky Howell, ‘who was unknown and fearful of being kicked off the dole’ at the time of the project4, were the other artists represented. Characteristically, the paintings Arkley produced for this project were a sample of his practice rather than a series; a group of three distinct interchangeable images – ‘an explosion, a zappo thing, which was to do with amphetamine addiction, although I don’t know if they’ll want that said’5 – that could be used to personalise your mobile according to mood. As the press release declared: ‘The GF 388 has a stylish flip which can protect your keypad when in your purse or pocket and provides extra privacy to the caller. This flip is removable, allowing you to purchase the Art of Communication series set of flips and make your Ericsson mobile phone stand out from the crowd.’6 While Arkley didn’t own a mobile phone at the time of the project, he embraced the notion of his art being used in this way, seeing this unique form of circulation of his artworks as part of the continuum of his practice: ‘It’s the idea of mass culture, not specifically phone users, just the fact that so much of my imagery comes from mass culture to art and back to mass culture.’7 However, despite having progressed as far as having brochures designed, receiving media coverage, and establishing launch dates8, the Ericsson ‘Australian Artists Limited Edition’ series was ultimately canned.9 But despite the time and effort involved, all was not lost. Arkley went on to successfully exhibit Stillife "Tulips", Explosion and Zappo Head 96 at Art Cologne, Germany in November – thus building upon a year of international exhibitions in Korea and Singapore that ultimately led to his representation of Australia in Venice at the 48th Venice Biennale in 1999. 1. Paul Klee cited in ‘Background and Early Influences’, NGV Howard Arkley Education Resource, at: https://www.ngv.vic.gov.au/school_resource/howard-arkley/ (accessed 5 March 2026) 2. Howard Arkley in Carmichael, R., ‘Erasing the Drawn Line’, The Sun, 2 November 1983, cited ibid. 3. The commission was organised by Arkley’s representative Tolarno Galleries, Melbourne. See Gregory, J., Arkley Works at https://www.arkleyworks.com/blog/2009/11/26/1996/ (accessed 5 March 2026) 4. Barclay, A., ‘Mobile Message’, Herald Sun, 16 August 1996 5. Arkley cited ibid. 6. ‘Ericsson Art of Communication Media Release’, 8 August 1996, Howard Arkley Archive, State Library Victoria (YMS 16096 John Gregory: Howard Arkley Research Collection 1996, Ericsson Box 3/8) 7. See Barclay, op. cit. 8. The series was to be launched at the Art Gallery of New South Wales, Sydney on Monday 12 August 1996 and at the National Gallery of Victoria, Melbourne on Tuesday 13 August, see ‘Ericsson Art of Communication Media Release’, op. cit. 9. According to John Gregory, this was ‘apparently on economic grounds’: see Arkley Works, op. cit. KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Deutscher and Hackett
  • HOWARD ARKLEY 1951-1999 Theatrical Façade 1996 synthetic polymer paint on canvas 200.2 x 150 cm
    Apr. 28, 2026

    HOWARD ARKLEY 1951-1999 Theatrical Façade 1996 synthetic polymer paint on canvas 200.2 x 150 cm

    Est: $1,200,000 - $1,600,000

    HOWARD ARKLEY 1951-1999 Theatrical Façade 1996 synthetic polymer paint on canvas signed, dated and inscribed 'Name. Howard Arkley / Title. "Theatrical Facade" / Date. 1996 / Size. 1500 x 2000 / Medium. Acrylic on Canvas / Howard Arkley . 96' verso 200.2 x 150 cm PROVENANCE Howard Arkley, Melbourne Tolarno Galleries, Melbourne Private Collection Kalli Rolfe Contemporary, Melbourne Private Collection, Melbourne, acquired from the above EXHIBITED Contemporary Australia: Six Leading Artists, United Overseas Bank, Singapore, 1996 LITERATURE Ashley Crawford and Ray Edgar, Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 130 Ashley Crawford and Ray Edgar, Spray: The Work of Howard Arkley (rev. ed.), Craftsman House, Sydney, 2001, p. 148 John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

    Smith & Singer
  • HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 34/499 69 x 53.5cm (image); 74.5 x 49cm (sheet); 107 x 92cm (fr...
    Apr. 22, 2026

    HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 34/499 69 x 53.5cm (image); 74.5 x 49cm (sheet); 107 x 92cm (fr...

    Est: $2,000 - $4,000

    HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 34/499 signed in plate lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left 69 x 53.5cm (image); 74.5 x 49cm (sheet); 107 x 92cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: 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 "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) © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Leonard Joel
  • HOWARD ARKLEY (1951-1999) Rite Room 1998 archival pigment print, ed. 37/499 83 x 81.5cm (image); 90 x 89cm (sheet); 123 x 121cm (frame)
    Apr. 22, 2026

    HOWARD ARKLEY (1951-1999) Rite Room 1998 archival pigment print, ed. 37/499 83 x 81.5cm (image); 90 x 89cm (sheet); 123 x 121cm (frame)

    Est: $3,000 - $5,000

    HOWARD ARKLEY (1951-1999) Rite Room 1998 archival pigment print, ed. 37/499 signed in plate lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left 83 x 81.5cm (image); 90 x 89cm (sheet); 123 x 121cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, Rite Room 1998, synthetic polymer paint on canvas, 203 x 200cm, the collection of the Art Gallery of South Australia, Adelaide © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Leonard Joel
  • HOWARD ARKLEY (1951-1999) (Red & Yellow Flower Panel) 1998 synthetic polymer paint on canvas 41 x 41cm
    Mar. 17, 2026

    HOWARD ARKLEY (1951-1999) (Red & Yellow Flower Panel) 1998 synthetic polymer paint on canvas 41 x 41cm

    Est: $6,000 - $8,000

    HOWARD ARKLEY (1951-1999) (Red & Yellow Flower Panel) 1998 synthetic polymer paint on canvas signed and dated verso: Howard Arkley. 98. 41 x 41cm PROVENANCE: The Artist's Estate Kalli Rolfe Contemporary, Melbourne Private collection, Melbourne Deutscher and Hackett, Melbourne, 27 August 2008, lot 83 (set of three) Private collection, Melbourne Art Index, Sydney Private collection, Queensland LITERATURE: Gregory, J., Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 78 (illus. related works) OTHER NOTES: © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Leonard Joel
  • HOWARD ARKLEY (1951-1999) Triple Fronted 1987 archival pigment print, ed. 133/499 67 x 97cm (image); 74.5 x 104.5cm (sheet); 101 x 1...
    Dec. 03, 2025

    HOWARD ARKLEY (1951-1999) Triple Fronted 1987 archival pigment print, ed. 133/499 67 x 97cm (image); 74.5 x 104.5cm (sheet); 101 x 1...

    Est: $3,000 - $5,000

    HOWARD ARKLEY (1951-1999) Triple Fronted 1987 archival pigment print, ed. 133/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left 67 x 97cm (image); 74.5 x 104.5cm (sheet); 101 x 129cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne (accompanied by a certificate of authenticity) 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 (1951-1999) House with Native Tree 1996 archival pigment print, ed. 130/499 94.5 x 70.5cm (image); 102 x 78cm (sheet);...
    Dec. 03, 2025

    HOWARD ARKLEY (1951-1999) House with Native Tree 1996 archival pigment print, ed. 130/499 94.5 x 70.5cm (image); 102 x 78cm (sheet);...

    Est: $3,000 - $5,000

    HOWARD ARKLEY (1951-1999) House with Native Tree 1996 archival pigment print, ed. 130/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left 94.5 x 70.5cm (image); 102 x 78cm (sheet); 129 x 105cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne (accompanied by a certificate of authenticity) 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, Australia (1951 - 1999), Deluxe Setting, 1992, archival pigment print, ed. 8/499, 126 x 97.5 cm. (49.60 x 38.39 in.), frame:139 x 111 cm. (54.71 x 43.70 in.)
    Dec. 01, 2025

    HOWARD ARKLEY, Australia (1951 - 1999), Deluxe Setting, 1992, archival pigment print, ed. 8/499, 126 x 97.5 cm. (49.60 x 38.39 in.), frame:139 x 111 cm. (54.71 x 43.70 in.)

    Est: $4,000 - $6,000

    HOWARD ARKLEY Australia, (1951 - 1999) Deluxe Setting, 1992 archival pigment print, ed. 8/499 digital signature to margin lower right: Howard Arkley editioned to margin lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne

    Lawsons
  • Howard Arkley, Arrows and crosses, 1980
    Nov. 26, 2025

    Howard Arkley, Arrows and crosses, 1980

    Est: $50,000 - $70,000

    Howard Arkley (1951 - 1999) Arrows and crosses, 1980 synthetic polymer paint on canvas 203.5 x 77.5 cm signed, dated and inscribed with title verso: Arrows and Crosses. / H. Arkley 80 PROVENANCE Coventry Gallery, Sydney Private collection Deutscher~Menzies, Melbourne, 10 August 1998, lot 169 Gould Galleries, Melbourne Deutscher and Hackett, Melbourne, 16 April 2008, lot 55 (dated 1979) Private collection, Brisbane EXHIBITED Howard Arkley, Coventry Gallery, Sydney, 4 – 22 March 1980, cat. 13 (as ‘Ticks and Crosses’) HA: Howard Arkley, Monash University Gallery, Melbourne, 18 October – 30 November 1991, cat. 20 (as ‘Arrows and Crosses’ also noting alternative title ‘Op’) Howard Arkley, Gould Galleries, Melbourne, 12 August – 2 September 2001, cat. 3 Howard Arkley, Gould Contemporary, Sydney, 16 March – 14 April 2002, cat. 2 Howard Arkley and Friends, TarraWarra Museum of Art, Victoria, 5 December 2015 – 28 February 2016 LITERATURE Burke, J., 'Bringing it all back home: thoughts on recent abstract painting', Art and Australia, Sam Ure Smith, Sydney, vol. 18, no. 4, 1981, pp. 372, 374 (illus. as ‘Op’) Duncan, J., (ed.), HA: Howard Arkley, Monash University Gallery, Melbourne, 1991, p. 17 (illus. as ‘Deco’) Crawford, A., and Edger, R., Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 28 (illus. as 'Deco' 1979) Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 57, fig. 2.6 (illus.) Howard Arkley Online Catalogue Raisonné: https://www.arkleyworks.com/blog/2009/11/14/arrows-and-crosses-1980-aka-op/ (accessed September 2025) Fitzpatrick, A., and Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Melbourne, 2015, pp. 120 (illus.), 142 ESSAY Howard Arkley’s painting Isotype, 1979, a commanding example of the artist’s elegant black and white abstractions, was acquired by the National Gallery of Victoria in 1979.1 It was Arkley’s first purchase for a public collection. The exhibition that Isotype was selected from showcased the first of the artist’s ‘door’ paintings but also revealed that Arkley was moving in an exciting new direction.2 Never one to rest on his laurels, Arkley had gone from the cool and spare sophistication of his black and white works to a series of large-scale paintings that jostled with an explosion of colour, pattern and decoration. As recognised by Janine Burke in her 1981 discussion of new abstraction, Arkley’s inspiration for these surprising works was an informed and cheeky amalgam of high and low sources drawn from art history, popular culture, and everyday life:   ‘Arkley uses the doorways of suburbia and drops of material to determine the shape and scale of his paintings while their content is rife with mass-cultural visual cues: zinging, pulsating OpArt designs of the 1960s now retrieved and made familiar by courtesy of New Wave fashion and typography, the whirling configurations of psychedelic ‘bad taste’ with its high-keyed, sweet colours and the recognizable designs of cheap, mass-produced household objects like Laminex, linoleum, mosaic tiles and shower-curtains.’3   Arrows and crosses, 1980 confidently continues Arkley’s challenge to the notion of ‘pure form’, interrupting the visual oscillations of Op Art with the artist’s assured airbrushed marks that seem to dance across the canvas.4 At once effortlessly precise and playful, the work’s complex design involves a combination of coloured sprayed elements with a repeated overall pattern of arrows and crosses in fine black line. With his first wife, artist Elizabeth Gower (from whom he separated in 1979) Arkley shared an interest in the way in which patternmaking could interrupt, complicate and converse with abstraction, thus also incorporating ideas drawn from craft and feminism into his abstract compositions. Such diverse sources are evident in the tram that Arkley was commissioned to paint by the Victorian Ministry for the Arts in the same year that Arrows and crosses was made. With its white background and all-over pattern of red, blue, black and grey circles, the tram’s makeover (or ‘gloss up’ in today’s jargon) was inspired by both embroidery and the fuzzy-edged circles of dot matrix printing.5 One can imagine that Arkley would have loved broadcaster Phillip Adams’ description of these ‘new’ Melbourne trams as ‘mobile murals’ and ‘electric frescoes’6 and the capacity of the tram to enable his art to participate and function in everyday life.   Akley’s abstraction may have been eclipsed in both the art world and popular imagination by his later suburban imagery, but abstraction remains a key to the success of this work, with its lively juxtaposition of surfaces filled with colour, stencilling and moiré pattern. It is the strength and assuredness of a painting such as Arrows and crosses that has seen several of Arkley’s friends, such as John Nixon (himself a committed non-objective artist), emphasise the significant role of abstraction in Arkley’s oeuvre:   ‘…Howard’s roots were in modernism, that’s where he started. Then after many years he got onto the ‘houses’, a very Australian topic. This was his most fruitful period with regard to his public profile and the support of collectors, but towards the end of his life he planned to return to abstraction – how this would have played out we will never know.’7   1. The work was acquired through the Michell Endowment, which was dedicated to the work of emerging Australian artists. 2. The exhibition was Howard Arkley: Recent Paintings, Tolarno Galleries, Melbourne, 9 – 20 May 1979 3. Burke, J., ‘Bringing it all back home: thoughts on recent abstract painting’, Art and Australia, vol. 18, no. 4, Winter 1981, p. 372 4. This work was first shown in the exhibition Howard Arkley at Coventry Gallery, Sydney (4 – 22 March 1980). Gregory, J., ‘Arrows and Crosses 1980’, ArkleyWorks at: https://www.arkleyworks.com/blog/2009/11/14/arrows-and-crosses-1980-aka-op/ (accessed 8 October 2025) 5. Arkley’s tram, Tram no. 384, 1980 was the twelfth in a series of sixteen commissioned as part of the Transporting Art Program. Gregory, J., ‘Tram No. 384’ 1980’, ArkleyWorks at: https://www.arkleyworks.com/blog/2009/11/14/tram-no-384-1980-3m/ (accessed 8 October 2025) 6 Phillip Adams, cited in Jones, R., ‘Transporting Art – Melbourne’s Art Trams’, Melbourne Tram Museum, 2028, https://www.hawthorntramdepot.org.au/papers/transportingart.htm (accessed 8 October 2025) 7. John Nixon, cited in Lynn, V., ‘And Friends’, in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2025, p. 47   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Deutscher and Hackett
  • Howard Arkley, The freeway, 1999
    Nov. 26, 2025

    Howard Arkley, The freeway, 1999

    Est: $1,500,000 - $2,000,000

    Howard Arkley (1951 - 1999) The freeway, 1999 synthetic polymer paint on canvas 150.0 x 366.0 cm signed and dated verso: Howard Arkley 99 signed, dated and inscribed with title verso: The Freeway 99 / Howard Arkley 99 / 1999 PROVENANCE Roger Wood and Randal Marsh, Melbourne, commissioned directly from the artist in 1999 EXHIBITED On the Road: the car in Australian art, Museum of Modern Art at Heide, Melbourne, 11 December 1999 - 19 March 2000 Howard Arkley: The Retrospective, The Ian Potter Centre: NGV Australia at Federation Square, Melbourne, 17 November 2006 - 25 February 2007 (label attached verso, as ‘Freeway’) Howard Arkley and Friends, TarraWarra Museum of Art, Melbourne, 5 December 2015 – 28 February 2016 LITERATURE Moore, M., 'Howard Arkley',  Hemisphere [United Airlines inflight magazine], June 1999, pp. 66 - 67 (illus.) Gott, T., and Gellatly, K.,  On the Road: The Car in Australian Art, Museum of Modern Art at Heide, Melbourne, 1999, p. 4 (illus.) Crawford, A., 'Howard Arkley 1951 - 1999', Art & Australia, vol. 37, no. 3, 2000, p. 376 (illus.) Gregory, J,.  Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, fig. 1.31, pp. 46, 48 - 49 (illus.) Fitzpatrick, A., and Lynn, V.,  Howard Arkley and Friends, TarraWarra Museum of Art, Melbourne, 2015, pp. 22, 36, 37 (illus.), 138 - 39 (illus.) Gruber, F., 'Howard Arkley, the man who saw Australian suburbia in technicolour', The Guardian, 7 December 2015, https://www.theguardian.com/artanddesign/2015/dec/07/howard-arkley-the-man-who-saw-australian-suburbia-in-technicolour (accessed September 2025) Gregory, J., 'Mining the Howard Arkley Archive', La Trobe Journal, State Library of Victoria, Melbourne, no. 107, November 2022, p. 19 Howard Arkley Online Catalogue Raisonné: https://www.arkleyworks.com/blog/2009/11/22/the-freeway-1999/ (accessed September 2025) ESSAY I am a passenger and I ride and I ride I ride through the city's backsides I see the stars come out of the sky Yeah, the bright and hollow sky You know it looks so good tonight   I am a passenger I stay under glass I look through my window so bright I see the stars come out tonight I see the bright and hollow sky Over the city's ripped backsides And everything looks good tonight (Iggy Pop, Passenger, 1977)   Howard Arkley’s monumental The freeway, 1999 was commissioned by Roger Wood and Randal Marsh of Wood Marsh Architecture after they were awarded the Victorian Architecture Medal for their 1995 project for Melbourne’s Eastern Freeway extension, which saw the firm design a scheme comprised of interconnected sculptural arcs that also served as sound barriers. The pair had been part of Howard Arkley’s social circle since the 1980s when they launched their careers with the redesign of Inflation nightclub in the Melbourne CBD1, and were the only architects amongst a wide group of young creatives that included artists Tony Clark, Juan Davila and Bill Henson, musician Nick Cave, and fashion designer Martin Grant. As Roger Wood recalls:   ‘When it was handed over he [Arkley] said that the Eastern Freeway for him was something that he couldn't imagine, you know the scale, and so he wanted to do something to rival that scale… [H]e saw that accolade as being important, and he saw that gesture [in the Freeway design], which is interlocking curved walls, as being represented by this painting.’   It took Arkley over two years to complete the painting (or, as Roger Wood commented, ‘to get around to painting it’). The documentary Howard’s Way, 1999, which screened on ABC-TV in February 2002, records Arkley in his Oakleigh studio just prior to his departure for the Venice Biennale with The freeway behind him, still a work-in-progress. The film provides an invaluable insight into the making of the painting, as Arkley discusses the blue and green colourway of a sign declaring ‘BARGAIN priced right’ as the inspiration or ‘key’ that ‘set off’ the work: ‘That’s a technique that I’ve used over last eight years, ten years… Going into a supermarket, picking a product, like soap powder, or baked beans…’3   Broad areas of the overpass, the freeway below, and the surrounding landscape are laid out – the pop of bright yellow of the street sign and various elements of the skyscrapers are yet to be filled. Interestingly, in this state of ‘undress’, the painting clearly demonstrates the power of Arkley’s assured airbrushed outlines, and the vital role they play in pulling the composition seamlessly together. The studio is a mess, but the canvas is pristine, propped up on two large paint cans so that it is at the right height to work on. When asked by Ashley Crawford, ‘Why paint a highway, Howard?’, Arkley responds:   ‘It’s a universal motif. Everybody understands it, everybody uses it… The freeway, the highway has symbolic references, and it has very ordinary family, suburban references like getting away, getting to work… and of course it has a history in various forms and I’m just plugging into that.’4   Wood and Marsh had not seen the painting prior to its eventual delivery, and initially, the grey rather than black airbrushed lines came as a shock, as it was the first time that they had seen grey outlines in Arkley’s work. Adding a warm, soft contrast to the building blocks of colour that comprise the image, Arkley told the pair that he did the grey line for them (although grey outlines do appear in several of the artist’s paintings from 1994 on). The grey airbrushed line of this and other freeway paintings undoubtedly references the concrete and industrial materials from which these enormous structures are made, but also serve to highlight the paintings’ formal concerns, with their swathes of solid contrasting colour and shape. As Anthony Fitzpatrick has observed,   ‘In the overlooked, indeterminate, and in-between space, of this urban infrastructure, Arkley discovered a new motif with which he could reprise some of the concerns of his initial formal investigations into the tensions between absence and presence, stasis and movement.’5   Arkley’s interest in the freeway began in 1994 with the paintings A Freeway Painting (Exit), 1994 and A Freeway Painting (Over Pass), 1994, which debuted in the exhibition Howard Arkley: The Pointillist Suburb Series at Tolarno Galleries, Melbourne in November of that year.6 Based upon a photograph Arkley had taken during a trip to Canberra in 19877—'modified and combined with material ranging from the art and photography of [American artist] Ed Ruscha, computer games and computer art, architectural renderings from Domus [magazine], and film and literary references such as J.G. Ballard’s Crash’8— this new subject represented an exciting departure for the artist, and one that continued to unfold alongside his signature suburban imagery until his death in 1999 (he was to paint an additional nine freeway paintings between 1995 – 99, with The freeway, 1999 the last). According to Arkley’s friend, architect Peter Corrigan, Arkley once said ‘…that he had to move on from them [the Australian suburbs] for the sake of his art so he started painting freeways and traffic sections, those exits out of his world.’9 Arkley too seems to hint at this in a deadpan comment he makes in the documentary Howard’s Way, which he finishes with a wry smile: ‘This suburban thing is in danger of swallowing me up. It’s a problem, and I think it would be a good idea perhaps if I headed for the You Yangs and got some relief.’10   At over three and a half metres long, The freeway presents Arkley’s interest in the freeway in cinemascope – creating a widescreen, immersive vision of the road that we seem, as a viewer, to experience from the verge. If we are supposed to navigate this space by car—after all, with the freeway, that’s the only way—the confusing directions on the yellow sign provide no clue as how to do so, and the rectangular space below remains blank, as if waiting for the hurried flourish of a local tagger. Divorced from time and a place, this is the freeway as sign – a piece of instantly recognisable infrastructure that either enables a connection to the city from the suburbs or an invaluable means of escape. Indeed, the street sign’s double arrows seem to say, ‘Take your pick’. Ironically, Arkley never learnt to drive, so the vast empty roads and grand sweeping curves of his freeway overpasses are something that was he only able to experience as a passenger, absorbing their visual and physical stimuli unencumbered.11 Despite being an artist that had long eschewed the Australian landscape tradition, in The freeway Arkley created the ultimate urban landscape.   After Arkley travelled to Venice in May 1999 for the vernissage of the Venice Biennale and the launch of his exhibition The Home Show in the Australian pavilion, he and his partner Alison Burton travelled briefly to Italy, and then London and Ireland12,before finally landing in America for the opening of Arkley’s first international commercial exhibition at Karen Lovegrove Gallery in Los Angeles.13 While in LA, Arkley took the opportunity to photograph the city’s eponymous web of freeways, riding shotgun with fellow artist Callum Morton, who had been a student of Arkley’s at Prahran College of Advanced Education. As Morton recalls:   ‘We drove to a number of freeway interchanges: the point where the 2 flies over the 134 and the 110 hits the 5. Clasping his camera in one hand, Howard would hang his head out the window and scream out: ‘STOP!’ I’d quickly pull up on the side of the freeway and he’d jump out and rush up and down the service lane taking photos. At one point, I remember, he ran across all four lanes of the Glendale Freeway, that skinny body flailing across the asphalt and me with my hand over my eyes.’14   Morton also drove Burton and Arkley to Nevada, where he attended their midnight wedding in a Las Vegas chapel. Morton remembers Arkley sitting in the back of the car, singing along to the Kinks: ‘He had the worst voice I've ever heard; I can still hear that raspy little voice.’15 Sadly, just three days after returning triumphant to Australia, Howard Arkley died in his studio of a heroin overdose at the age of 48.   The Howard Arkley Archive in State Library Victoria holds seventy-five freeway photographs from the artist’s adventures in LA – testament to the fact that it was a subject he wanted to continue to explore. The freeway was to be the last.   Unless otherwise noted, all quotes by Roger Wood and Randal Marsh are from a conversation with the author at Wood Marsh’s Port Melbourne office, 30 September 2025.   1. At the time the firm included Dale Jones-Evans and was called Biltmoderne. It became Wood Marsh in 1987 after Jones Evans left the firm. 2. Wyzenbeek, T. (dir.), Howard’s Way, ABC-TV Arts, 1999 (screened February 2000), see: ‘Bibliography’, Arkley Works, at: https://www.arkleyworks.com/bibliography/ (accessed 2 October 2025) 3. Howard Arkley, cited ibid. 4. ibid. 5. Fitzpatrick, A., ‘Sampling: The Art of Howard Arkley’, in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2025, p. 22 6. Howard Arkley: The Pointillist Suburb Series at Tolarno Galleries, Melbourne, 7 November – 3 December 1994 7. Gregory, J., ‘A Freeway Painting (Over Pass) 1994’, Arkley Works, at: https://www.arkleyworks.com/blog/2009/12/09/a-freeway-painting-over-pass-1994/ (accessed 3 October 2025) Gregory states this date as 1987 in Gregory J., Carnivale in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 45 8. ibid. 9. Peter Corrigan, cited in education resource for the exhibition Howard Arkley, National Gallery of Victoria, Melbourne, 17 November 2006 – February 2007, at: https://www.ngv.vic.gov.au/school_resource/howard-arkley/ (accessed 29 September 2025) 10. Howard Arkley, cited in Wyzenbeek, op. cit. 11. Gregory, Carnivale…, op. cit., p. 46 12. For an in-depth account of Arkley’s activities in 1999, see Gregory, J., ‘1999’, https://www.arkleyworks.com/blog/2009/11/21/1999/ (accessed 6 October 2025) 13. Howard Arkley: Home Show, Karen Lovegrove Gallery, Los Angeles, 9 July – 14 August 1999 14. Callum Morton, cited in Howard Arkley and Friends, op. cit., p. 59 15. Callum Morton, cited in Coslovich, G., ‘Art of Suburbia: Howard Arkley’s Life and Work Highlighted in New Exhibition’, The Sydney Morning Herald, Sydney, 18 November 2015, at: https://www.smh.com.au/entertainment/m21cover-20151113-gkyr2r.html (accessed 6 October 2025)   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Deutscher and Hackett
  • Howard Arkley, O.Y.O. Flats, 1987
    Nov. 26, 2025

    Howard Arkley, O.Y.O. Flats, 1987

    Est: $800,000 - $1,200,000

    Howard Arkley (1951 - 1999) O.Y.O. Flats, 1987 synthetic polymer paint on canvas 198.5 x 168.0 cm signed, dated and inscribed with title verso: Howard Arkley / OYO FLATS / 1987 PROVENANCE Roslyn Oxley9 Gallery, Sydney Henry Gillespie, Melbourne Sotheby’s, Melbourne, 2 October 1994, lot 148 (incorrectly dated as 1988) Private collection Melbourne, acquired from the above Private collection, Melbourne Private collection, Melbourne, acquired from the above in 2013 EXHIBITED Howard Arkley: Suburban Urban Messages, Roslyn Oxley9 Gallery, Sydney, 1 - 19 September 1987, cat. 3 (label attached verso, as 'OYO Flats') The Newcastle Show Association $10,000 Invitation Art Purchase, Newcastle Region Art Gallery, New South Wales, 19 February - 13 March 1988 Downtown: Ruscha, Rooney, Arkley, Museum of Modern Art at Heide, Melbourne, 14 March – 14 May 1995 Howard Arkley, Gould Contemporary, Melbourne, 14 November – 14 December 2013 Howard Arkley and Friends, TarraWarra Museum of Art, Melbourne, 5 December 2015 – 28 February 2016 LITERATURE Trioli, V., 'Art in the Open Market',  The Age, Melbourne, 30 September 1994, p. 11 (illus.) Gibson, J., 'Los Melbos', Art + Text, Melbourne, no. 51, 1995, p. 21 (illus.) Crawford, A., and Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, 2001, p. 136 (illus.) Gregory, J,.  Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, fig. 2.30, pp. 20, 81, 84, 85 (illus.) Fitzpatrick, A., and Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Melbourne, 2015, pp. 114 (illus.), 143 Howard Arkley Online Catalogue Raisonné: https://www.arkleyworks.com/blog/2009/11/19/o-y-o-flats-1987/ (accessed September 2025) RELATED WORK Modern O.Y.O. Flats, 1988, synthetic polymer paint on canvas, 180.0 x 150.0, private collection, Melbourne Urban Apartments, 1999, synthetic polymer paint on canvas, 175.0 x 135.0 cm, private collection ESSAY ‘Australian art has been dominated by the rural landscape, and I think there is something false and overrated – it’s romanticised or, at the very least, lopsided. Most of the population live in an urban environment. This environment affects us – the kinds of people that Australians are, and the way we behave. It affects our formative years, so it is a very important element.’1   While already a contemporary artist of note, in 1987 Howard Arkley was on the precipice of major success. Characteristically, he was working at a phenomenal pace, holding painting exhibitions in Sydney and Adelaide and a works on paper exhibition in Brisbane, as well as being included in exhibitions at the National Gallery of Victoria (twice); Heide Park and Art Gallery (now Heide Museum of Modern Art); 200 Gertrude Street (now Gertrude Contemporary); and at the University Gallery (now Ian Potter Museum of Art) and Ormond College at the University of Melbourne.2 As Arkley’s first wife, artist Elizabeth Gower observed: ‘If I had to find one word to describe Howard, it would be ‘intense’… He had a wild imagination. His conversations were intense. Whatever the subject, he’d have an opinion on it. And his most passionate subject was Art – his Art, your Art, everyone’s Art, the Art world, Art politics, good Art, bad Art. He’d thought about it all. It was Art for breakfast and Art for dinner.’3 Arkley had included paintings of suburban houses in previous exhibitions in 1983 and 19864, but his 1987 solo exhibition, Howard Arkley: Urban Suburban Messages at Roslyn Oxley9 Gallery, Sydney – which featured O.Y.O. Flats, 1987 – was the first to significantly foreground the artist’s suburban theme. Over the next decade, this subject was to fuel his reputation, and it continued to both preoccupy and fascinate him until his representation of Australia at the 48th Venice Biennale in 1999 with the exhibition The Home Show, and his untimely death in his Melbourne studio just one month later.   Arkley’s love of suburban design began as far back as 1978 his with photographic documentation of Australian flywire screen doors. He and Gower had recently returned from travel in Europe and New York, where they had enthusiastically analysed and sketched the patterns they had encountered ‘in everything from the Paris railway station and linoleum, to Japanese prints and the paintings of Alfred Jensen and Matisse’.5 However, for Arkley, it was these homegrown versions of Paris’ Art Deco and Art Nouveau grilles, gates and doorways that were to have the most influence, establishing a connection between the seeming banality of suburbia and the rich creative possibilities of the pattern and decoration that he found there, and went on to imagine. The artist knew the suburbs well, having grown up in Surrey Hills in Melbourne’s east (the home of another great artist of the suburban vernacular, John Brack), and having returned to live in the ‘burbs' (in Oakleigh) in 1991. Yet despite his deep commitment to the suburbs as a legitimate, meaningful and endlessly inspiring source for his art, Arkley was at once both a champion and occasional detractor of suburban life. Many of his comments defend the suburbs: ‘[t]he majority of Australians live in suburbs, but they are also cynical and embarrassed about it. They don’t see the suburbs as a subject for art, but it’s a very good way of life. There’s a barbeque in the backyard, and it’s safe for children, what’s to be embarrassed about?’6 Yet there are also glimpses in Arkley’s interviews of the realities of suburban existence for a restless, high energy artist attuned to the vicissitudes of inner-city living: ‘I actually moved out to the suburbs to get a hands-on experience… and it’s really boring. I’ve just about worn out my stay’.7 The paintings themselves remain mute on Arkley’s philosophical motivations for making them — heartfelt celebration or postmodern critique? — yet there is no denying that the artist’s sustained engagement with the suburbs made them definitively his own. As he declared:   ‘What I would actually like to do is the equivalent to when you’re driving along in the country and you look at the landscape and you say, ‘Oh there’s a Fred Williams.’ You change the way people see it. And you make people look at it…’8   Like many of Arkley’s suburban exteriors, O.Y.O. Flats was inspired by a real estate advertisement for the sale of a ‘LIGHT AND BRIGHT’ apartment with a ‘SUNNY OUTLOOK ON LIFE’ in Rathdowne Street, North Carlton. Using the advertisement’s fine line drawing as the starting point of his painting, Arkley transposed the composition’s tight framing and somewhat lurching perspective, as well as the viewer’s vantage point from the street – filling the open white spaces of the apartment’s original ‘likeness’ with shimmering terracotta brickwork, a tessellated fence of alternating pastel hues, and large blocks of strong colour that emphasise the building’s blocky modernist form. The artist’s command of the airbrush really comes into play here, with the work’s confident black linework emphasising the block’s solidity and ‘good bones’ (to steal a real estate term), while proudly emphasising the painting’s undeniable Pop sensibility. As Arkley happily admitted, he was ‘never ever going to be a de Kooning or a John Olsen’ and he ‘was never going to love paint and wallow around in it’9:   ‘I wanted 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 reproduction in books and magazines and slides etc. I didn’t want any great big globules of paint running down, because in a book they don’t have that – they’re nice and flat and shiny.’10   However, despite the work’s joyous high-keyed palette and cloud-free blue sky, the ‘Own Your Own’ of Arkley’s title also points to something far less sunny: the challenges of global capitalism and the ever-diminishing Australian dream of home ownership. The modest apartments of this simple block of flats represent the aspirations of all first home buyers—the possibility of ‘owning your own’ and of getting a toehold in the market—along with the promises this brings of security and happily-ever-afters.   Like Andy Warhol before him, Arkley was not averse to reusing and repurposing his own imagery. The apartment block of O.Y.O. Flats may stand alone amongst the artist’s California bungalows, Spanish villas and triple-fronted brick veneer houses, but it continued to intrigue and ‘work on’ Arkley, who created two further versions: Modern O.Y.O. Flats, 1988 (with an altered perspective, different plants and a more muted palette) and Urban Apartments, 1999 (again, with altered perspective, and the replacement of the original gum with a palm tree11). It is fair to assume that the easy correspondence that O.Y.O. Flats establishes between Arkley and Warhol also resonated with the painting’s first owner, Henry Gillespie who met Warhol at a party in Los Angeles in the 1980s, later becoming the Australian editor of Warhol’s Interview magazine. He is one of only two Australians to have been painted by the artist (the other is Loti Smorgon AO) and was given one of the four portraits Warhol made of him in 1985 as payment for his work on the magazine.12 It is fitting to imagine O.Y.O. Flats in this company.   1. Howard Arkley, from an unpublished interview with the authors in Crawford, A. & Edgar, R., Spray: The Work of Howard Arkley, Craftsman House, Melbourne, 1997, p. 88 2. For a list of Howard Arkley’s exhibitions in 1987 and the works contained within them see: Gregory, J., ‘1987’, Arkley Works, at: https://www.arkleyworks.com/blog/2009/11/20/1987/ (accessed 29 September 2025) 3. Elizabeth Gower, cited in education resource for the exhibition Howard Arkley, National Gallery of Victoria, Melbourne, 2007, at: https://www.ngv.vic.gov.au/school_resource/howard-arkley/ (accessed 29 September 2025) 4. Howard Arkley: Urban Paintings, Tolarno Galleries, Melbourne, 22 October – 13 November 1983 and Howard Akley: Recent Paintings, Tolarno Galleries, Melbourne, 20 September – 8 October 1986. Arkley also showed the interior painting Suburban, 1983 in his exhibition Howard Arkley: Recent Works (15 June – 2 July) at Roslyn Oxley9 Gallery, Sydney in 1983. 5. Brown, R., ‘Art in the Urban Environment’ in Casual Works: Working Drawings, Source Material, Doodles 1974 – 1987, 200 Gerturde Street, Melbourne, 1988, unpaginated, cited in Fitzpatrick, A., ‘Sampling: The Art of Howard Arkley’, Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 12 6. Gardner, K., Australia at the Venice Biennale: A Century of Contemporary Art, The Miegunyah Press, Melbourne, 2021, p. 132 7. Howard Arkley, cited in Barclay, A., ‘Mobile Message’, Herald Sun, 16 August 1996, cited in Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 10 8. Howard Arkley, from an unpublished interview with the authors, Crawford, A. & Edgar, R., Spray: The Work of Howard Arkley, Craftsman House, Melbourne, 1997, p. 89 9. Howard Arkley, cited in Wyzenbeek, T. (dir.), Howard’s Way, ABC-TV Arts, 1999 10. ibid. 11. This work was shown in the artist’s first international commercial exhibition: Howard Arkley: Home Show, Karen Lovegrove Gallery, Los Angeles, 9 July – 14 August 1999. According to John Gregory, the exhibition was a sell-out: Gregory, J., ‘‘Howard Arkley: Home Show’, Karyn Lovegrove Gallery, Los Angeles, Jul-Aug 1999’, Arkley Works, at: https://www.arkleyworks.com/blog/2009/11/20/1987/ (accessed 1 October 2025) 12. Wall label, Andy Warhol and Photography: A Social Media, Art Gallery of South Australia, Adelaide, 3 March – 14 May 2023, at: https://www.agsa.sa.gov.au/collection-publications/collection/works/henry-gillespie/27242/#about-narrative-1541 (accessed 1 October 2025). The portrait that belonged to Gillespie was acquired by the Art Gallery of South Australia in 1996; the remaining three are in the collection of the National Gallery of Australia.   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Deutscher and Hackett
  • HOWARD ARKLEY (AFTER), ''Shadow Factories'', Art print after the original., Image: 24cm x 19cm, Frame:46cm x 36cm
    Oct. 16, 2025

    HOWARD ARKLEY (AFTER), ''Shadow Factories'', Art print after the original., Image: 24cm x 19cm, Frame:46cm x 36cm

    Est: $300 - $500

    HOWARD ARKLEY (AFTER) 'Shadow Factories' Art print after the original. Artwork is framed and ready to hang.

    Ozbid Auctions
  • HOWARD ARKLEY (AFTER), ''Shadow Factories'', Art print after the original., Image: 24cm x 19cm, Frame:46cm x 36cm
    Sep. 10, 2025

    HOWARD ARKLEY (AFTER), ''Shadow Factories'', Art print after the original., Image: 24cm x 19cm, Frame:46cm x 36cm

    Est: $300 - $500

    HOWARD ARKLEY (AFTER) 'Shadow Factories' Art print after the original. Artwork is framed and ready to hang.

    Ozbid Auctions
  • Howard Arkley, New room, 1993
    Aug. 27, 2025

    Howard Arkley, New room, 1993

    Est: $800,000 - $1,200,000

    Howard Arkley (1951 - 1999) New room, 1993 synthetic polymer paint on canvas 173.0 x 135.0 cm signed and dated verso: Howard Arkley 93 signed, dated and inscribed with title verso: Howard Arkley / New Room / 1993 PROVENANCE Tolarno Galleries, Melbourne The Sigg Collection, Switzerland, acquired from the above in April 1994 LITERATURE Art and Australia, Fine Arts Press Pty Limited, Sydney, vol. 34, no. 4, 1997, front cover (illus.), p. 419 (illus.) Howard Arkley Online Catalogue Raisonné: https://www.arkleyworks.com/blog/2009/12/09/new-room-1993/ [accessed March 2025] ESSAY ‘The suburbs to me are quite simply, my life. They’re my childhood, and my formative years – they’re what formed me, both in my personal life, and in my artistic life.’1   By the time that Howard Arkley painted New room in 1993, the claustrophobic, exuberantly decorated spaces of the suburban interior had become a major preoccupation. These were showcased for the first time in his October 1992 exhibition, Mix ‘n Match: A Series of Suburban Interiors at Tolarno Galleries, Melbourne, and in his preceding collaboration with artist Juan Davila, Blue chip instant decorator: a room, 1991 – 92 (Benalla Art Gallery), which was later described by Davila as ‘a wonderful travesty’ with ‘an intentionally bastard result’.2 While referring to a well-known practice in interior design, Mix ‘n Match’s title could also be seen as an ironic take on the décor in most of the paintings, which, like New room, were replete with high-keyed colour and clashing decorative patterns on almost every available surface.3 Arkley continued this theme to great effect in his 1993 exhibition at Bellas Gallery, Brisbane, Recommended Rooms. The artist had returned to live in the suburbs with his partner (and later wife) Alison Burton in 1991, and through these works, and his iconic exteriors of suburban houses, he was to become the champion of a distinctly Australian vernacular:   ‘Australian art has been dominated by the rural landscape, and I think there is something false and overrated – it’s romanticised or, at the very least, lopsided. Most of the population live in an urban environment. This environment affects us – the kinds of people that Australians are, and the way we behave. It affects our formative years, so it is a very important element.’4   However, while Arkley was the champion of the suburbs as subject matter, his works remain mute as to whether they are intended as a form of celebration or critique. There is certainly a sense that we don’t know what events unfold within these houses or their people-less interiors, and the dream of home ownership – which remains deeply embedded in the Australian psyche – is no doubt part of both their recognition and appeal. As curator Juliana Engberg has observed, Arkley’s interest in houses occupies the same territory as the mask in his practice – ‘They are all symbolic of the mapping of identity, the triple-fronted, the two-faced, the made-up and the made-over’ and are ‘part of his cosmetic construct of a world viewed from the other side of the fence.’5 What we do know, is that Arkley embraced the suburban house as a vehicle for pattern and decoration, and importantly, creative exploration, and that it also enabled him to playfully challenge prevailing notions of taste and artistic propriety. As he enthused:   ‘Ordinary houses are filled with pattern. You go into a house where there is no art, no paintings, but it is filled with kind of second-degree imagery. The patterning around the fireplace, the carpet, and the different brick on the different houses, and the pattern between the gutter, the nature strip, the footpath; then you have the fence, then you have the green lawn, then you have house, then you have the tiles, then you have the blue sky… and I missed the bushes in between. It’s rich.’6   Prior to the creation of Blue chip instant decorator, Arkley’s friend and occasional collaborator John Nixon gave the artist a book that he had found in an op shop, with the quip, ‘Oh, this is blue chip, you’ll make money on this one Howard.’7 This publication – The Instant Decorator by Frances Joslin Gold (1976) – was to become the source for the compositions of many of the interior paintings that followed. Gold’s ‘how to’ guide featured transparent sheets over each outlined room so that the home decorator could place fabric swatches and colour samples underneath to test the way they looked. The exuberant patterning and decoration of Arkley’s interiors replicated this model to spine-tingling effect, as he overlaid and filled space with a multitude of patterns, colours and surface treatments that jostle and fight each other in kitschy confections of questionable taste. The extreme cropping of the composition of New room – as if it has been based on a magazine photograph that has been sliced in half, leaving only suggestive hints of the fireplace and painting that hangs above it – heightens the sense of claustrophobia that is characteristic of Arkley’s interiors. This sense of containment is also echoed by the artist’s assured airbrushing, which similarly reigns in the image’s dazzling array of stencilled designs, pattern and colour. The work’s title, New room, may convey a sense of pride in this elaborate decorative scheme, but its primness seems to indicate, in the spirit of suburban hosting, that it is a room ‘kept for best’.   Arkley’s representation of Australia at the Venice Biennale in 1999 with his exhibition The Home Show saw the artist’s reputation skyrocket, but New room was acquired for the Sigg Collection in 1994, well before this occurred. An astute and informed collector, businessman and diplomat Uli Sigg acquired the work close to the time it was made, adding it to his significant collection of international contemporary art. Sigg had also amassed one of the world’s largest collections of contemporary Chinese art, and today, this forms the lynchpin of the collection of Hong Kong’s M+ art museum.   1. Howard Arkley, cited in Wyzenbeek, T. (dir.), Howard’s Way, ABC-TV Arts, 1999 2. O’Connell, S., BLUE CHIP INSTANT DECORATOR: Howard Arkley & Juan Davila (interviewed) at: http://artdes.monash.edu.au/globe/issue3/decorate.html (accessed 16 June 2025) 3. The title of the exhibition was borrowed from a book in Arkley’s collection: Mary Gilliat’s Mix & Match Decorating Book (1984). See Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 30 4. Howard Arkley, cited in Crawford, A. & Edgar, R., ‘Unpublished interview with the authors’ in Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 88 5. Engberg, J., ‘Howard Arkley’, Art & Text, no. 41, 1992, p. 102 6. Howard Arkley, cited in Wyzenbeek, op. cit. 7. This also led to the title of the Arkley and Davila collaboration discussed above. See ‘Unpublished interview with Arkley conducted by Stephen O’Connell (Zagala)’, 24 November 1995, cited in Gregory, op. cit. p. 32   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art.

    Deutscher and Hackett
  • HOWARD ARKLEY 1951-1999 Contemporary Units 1988 synthetic polymer paint on canvas 160 x 240.5 cm
    Aug. 19, 2025

    HOWARD ARKLEY 1951-1999 Contemporary Units 1988 synthetic polymer paint on canvas 160 x 240.5 cm

    Est: $700,000 - $900,000

    HOWARD ARKLEY 1951-1999 Contemporary Units 1988 synthetic polymer paint on canvas signed, dated and inscribed ‘Howard ARKLEY / Contemporary Units / 1988 / Howard Arkley / 88' verso 160 x 240.5 cm PROVENANCE Howard Arkley, Melbourne Tolarno Galleries, Melbourne (label verso) Private Collection, Melbourne, acquired from the above in August 1988 EXHIBITED Howard Arkley: Recent Paintings: Houses & Homes, Tolarno Galleries, Melbourne, 13 August – 3 September 1988, no. 8 LITERATURE Juliana Engberg, ‘On the Street Where You Live: Howard Arkley's Houses & Homes', Agenda, Melbourne, Vol. 1, No. 2, 1988, p. 26 (illustrated) John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

    Smith & Singer
  • HOWARD ARKLEY, Tripled Fronted
    Jun. 24, 2025

    HOWARD ARKLEY, Tripled Fronted

    Est: $4,000 - $6,000

    HOWARD ARKLEY Tripled Fronted digital archival print inscribed and editioned on margin: Howard Arkley / 16/499 C.A. Number #1759 67 x 97.5cm PROVENANCE Digital Art Directory (certificate of authenticity accompanies this lot)

    Gibson's
  • Howard Arkley (1951-1999) " Riteroom" print 13/499
    Jun. 22, 2025

    Howard Arkley (1951-1999) " Riteroom" print 13/499

    Est: -

    Howard Arkley (1951-1999) " Riteroom" print 13/499 limited edition sealed on artist paper 86cm x 86cm needs adjusting coming out of the frame a little. A vibrant limited edition print by iconic Australian artist Howard Arkley, celebrated for his distinctive airbrushed depictions of suburbia and interior spaces. This piece captures a colourful lounge room scene in Arkley’s signature graphic style—bold patterning, flat colour, and suburban symbolism. Arkley’s work is held in all major Australian state galleries and remains a favourite of collectors of postmodern and Pop-influenced Australian art.

    Yarra Valley Auctions
  • HOWARD ARKLEY, UNTITLED [CACTOID COMPOSITION], 1986
    May. 27, 2025

    HOWARD ARKLEY, UNTITLED [CACTOID COMPOSITION], 1986

    Est: $8,000 - $10,000

    HOWARD ARKLEY (1951 - 1999) UNTITLED [CACTOID COMPOSITION], 1986 fibre tipped pen on paper 47.5 x 72.5 cm 49.0 x 74.0 cm (frame) signed and dated lower right: Howard Arkley 86 PROVENANCE Collection of the artist Thence by descent Robert Arkley, Melbourne LITERATURE Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2025/05/12/untitled-cactoid-composition-1986-w-p/] (accessed May 2025) RELATED WORK The Cacti Succulents, 1986, synthetic polymer paint on canvas, 150.5 x 259.7, in the collection of the Museum of Contemporary Art, Sydney © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art This work is located in our Melbourne Gallery Flipbook available on the Deutscher and Hackett website

    Deutscher and Hackett
  • HOWARD ARKLEY, UNTITLED [LINES AND SPOTS], 1979
    May. 27, 2025

    HOWARD ARKLEY, UNTITLED [LINES AND SPOTS], 1979

    Est: $8,000 - $10,000

    HOWARD ARKLEY (1951 - 1999) UNTITLED [LINES AND SPOTS], 1979 synthetic polymer paint, ink and pencil on paper 59.0 x 81.5 cm 60.5 x 82.5 cm (frame) signed and dated lower right: Howard Arkley 79 PROVENANCE Collection of the artist, Melbourne Thence by descent Robert Arkley, Melbourne LITERATURE Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2009/11/13/untitled-lines-and-spots-1979-wp-attrib/] (accessed May 2025) RELATED WORK Print Out, 1979, synthetic polymer paint and pencil on canvas, 90.0 x 122.0, private collection Printout – Drawing for Decorated Tram 4, 1980, synthetic polymer paint on paper, 83.0 x 112.0 cm, collection unkown Drawing for Decorated Tram Project, 1980, synthetic polymer paint, pencil and ink on paper, 67.7 x 96.2 cm, in the collection of the National Gallery of Australia, Canberra © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art This work is located in our Melbourne Gallery Flipbook available on the Deutscher and Hackett website

    Deutscher and Hackett
  • Howard Arkley, (1951-1999), Four Studies, 1983, collage and fibre-tipped pen on paper, each 40 x 26.5 cm
    May. 27, 2025

    Howard Arkley, (1951-1999), Four Studies, 1983, collage and fibre-tipped pen on paper, each 40 x 26.5 cm

    Est: $5,000 - $7,000

    Howard Arkley (1951-1999) Four Studies, 1983 collage and fibre-tipped pen on paper According to Spray, these 4 works were ‘made for publication in the magazine Virgin Press', and involved reworking Surrealist artist Joán Miró's ‘organic abstraction' project from the 1930s, juxtaposing photographs of various objects with Arkley's own doodled versions (4)

    Shapiro Auctioneers
  • HOWARD ARKLEY (1951-1999), Untitled Head (#6) 1998
    May. 25, 2025

    HOWARD ARKLEY (1951-1999), Untitled Head (#6) 1998

    Est: $6,000 - $9,000

    HOWARD ARKLEY (1951-1999) Untitled Head (#6) 1998 synthetic polymer paint on paper signed and dated lower right: Howard Arkley 98 76 x 56cm PROVENANCE Barry Sherman Galleries, Melbourne Private collection, Melbourne Leonard Joel, Melbourne, Fine Art Auction, 3 December 2013, Lot 82 Private collection, Melbourne EXHIBITED (possibly) Howard Arkley: Exhibition and Sale of 40 Paintings, Metro 5 Gallery, Melbourne, 6 - 24 February 2002 REFERENCES Howard Arkley Online Catalogue Raisonne: [https://www.arkleyworks.com/blog/2021/10/09/untitled-head-6-1998-w-p/] (accessed 30/09/24) © The Estate of Howard Arkley, Licenced by Kalli Rolfe Contemporary Art

    Gibson's
  • HOWARD ARKLEY (1951-1999), Untitled Head (#5) 1998
    May. 25, 2025

    HOWARD ARKLEY (1951-1999), Untitled Head (#5) 1998

    Est: $6,000 - $9,000

    HOWARD ARKLEY (1951-1999) Untitled Head (#5) 1998 synthetic polymer paint on paper signed and dated lower right: Howard Arkley 98 76 x 56cm PROVENANCE Barry Sherman Galleries, Sydney Private collection, Melbourne Leonard Joel, Melbourne, Fine Art Auction, 3 December 2013, Lot 81 Private collection, Melbourne EXHIBITED (possibly) Howard Arkley: Exhibition and Sale of 40 Paintings, Metro 5 Gallery, Melbourne, 6 - 24 February 2002 REFERENCES Howard Arkley Online Catalogue Raisonne: [https://www.arkleyworks.com/blog/2021/10/09/untitled-head-5-1998-w-p/] (accessed 30/09/24) © The Estate of Howard Arkley, Licenced by Kalli Rolfe Contemporary Art

    Gibson's
  • HOWARD ARKLEY, FLORAL INTERIOR, 1996
    May. 07, 2025

    HOWARD ARKLEY, FLORAL INTERIOR, 1996

    Est: $100,000 - $150,000

    HOWARD ARKLEY (1951 - 1999) FLORAL INTERIOR, 1996 synthetic polymer paint on paper 156.0 x 120.5 cm PROVENANCE Tolarno Galleries, Melbourne The Sigg Collection, Switzerland, acquired from the above in May 1996 LITERATURE Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2009/11/26/floral-interior-1996-wp/] (accessed April 2025) ESSAY In 1994 Howard Arkley was on top of his game, confidently expanding his rich exploration of the suburbs through his iconic paintings of house facades and increasingly, their interiors – providing an imaginary and voyeuristic insight into the furnishing and decoration of the ‘typical’ Australian home.1 In that year, Arkley held an important exhibition of monochromatic works at Bellas Gallery in Brisbane, and this creative framework was to continue to absorb him, appearing across an expansive body of work made between 1994 and 1995, during a time in which the artist was increasingly renowned for his exuberant, highly colourful images of suburbia, and for his new explorations of the freeway. However, the discipline involved in this restriction of his palette was not new for Arkley and instead enabled a circling back to the early abstractions that had launched his career. Created between 1974 and 1977, Arkley’s ‘White Paintings’ drew on a vast array of sources, ranging from modernist art theory, philosophy and science and eastern spiritualism to the influence of a variety of artists, including Malevich, Robert Morris, and the artist’s Australian contemporary, Robert Hunter. An exercise in masterful restraint for an artist increasingly celebrated for his freewheeling use of colour, Floral interior, 1996 draws immediate attention to Arkley’s consummate skill with the airbrush and the finesse of his application of stencilled pattern. As Arkley fully appreciated, the airbrush leaves nowhere to hide – its application must be confident and decisive, and the artist fully exploits his mastery in this piece by creating bold sweeping linework that sits in stark contrast to the delicate stencilled motifs that add both texture and depth to the room’s armchair, curtains and floor. The airbrush allowed Arkley to fulfil his desire to make paintings that looked like art reproductions rather than actual paintings – ‘nice and flat and shiny’ – and to work in a way that suited him: ‘I first saw an airbrush in 1969, the first year I was at art school, and I thought it was a pretty interesting kind of medium – that you could make marks without actually touching the canvas. And, I must say, right from the beginning, I was never very much of a physical painter. I was never ever going to be a de Kooning or a John Olsen. I was never going to love paint and wallow around in it. I always had the idea that I wanted to make the image without actually having to get my hands dirty.’2 While the observational quality and ‘remove’ of Floral interior make it difficult to categorise the work as either celebration or critique of the suburbs and the hopes, dreams and aspirations that they hold within them, Arkley nevertheless saw his work in this realm as a legitimate, real and relatable expression of contemporary Australian life. As he reflected:  ‘Australian art has been dominated by the rural landscape, and I think there is something false and overrated – it’s romanticised or, at the very least, lopsided. Most of the population live in an urban environment. This environment affects us – the kinds of people that Australians are, and the way we behave. It affects our formative years, so it is a very important element.’3 1. Many of Arkley’s works from this period were based upon international design and architecture sources, particularly Frances Joslin Gold’s 1976 US publication The Instant Decorator. Gregory, J., ‘ Gold’s Instant Decorator’, Arkley Works, see: https://www.arkleyworks.com/blog/2009/12/21/golds-instant-decorator/ (accessed 22 March 2025) 2. Wyzenbeek, T., Howard’s Way, 1999, ABC-TV Arts, 24 mins 3. Arkley, H. unpublished interview with the authors, cited in Crawford, A. & Edgar, R. , Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 88 KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Deutscher and Hackett
  • HOWARD ARKLEY, NEAPOLITAN DELIGHT, 1993
    May. 07, 2025

    HOWARD ARKLEY, NEAPOLITAN DELIGHT, 1993

    Est: $1,000,000 - $1,500,000

    HOWARD ARKLEY (1951 - 1999) NEAPOLITAN DELIGHT, 1993 synthetic polymer paint on canvas 172.5 x 254.0 cm signed and dated verso: Howard Arkley 93 signed, dated and inscribed with title verso: Howard Arkley / Neapolitan Delight / 1993 PROVENANCE Tolarno Galleries, Melbourne The Sigg Collection, Switzerland, acquired from the above in April 1994 LITERATURE Arkley, H., and Humphries, B.,  Imaginary Australia, Arkitekturtidsskrift B, Denmark, no. 52+53, 1995, pp. 95 – 99 (illus.) Howard Arkley Online Catalogue Raisonné:  [https://www.arkleyworks.com/blog/2009/12/08/neapolitan–delight–1993–lounge–room/] (accessed March 2025) ESSAY Howard Arkley first exhibited a painting of the exterior of a suburban house in 19831, but this celebrated aspect of his oeuvre did not build momentum until the mid-1980s, culminating in the artist’s highly successful representation of Australia at the Venice Biennale in 1999 with his exhibition The Home Show. However, even at this nascent stage of his exploration of the subject matter that was to preoccupy him well into the next decade, the work arrived confident and fully formed; a riotous combination of the artist’s characteristic thick black linework, bold colour and all-over patterning. Tellingly, this exterior was exhibited alongside two works that dared to venture beyond the front gate, exploring the interiors of Arkley’s ‘suburban dreaming’2 with their cramped spaces, competing decoration and patterning, and unsettling, slightly wonky perspectives.3 From the outset, Arkley’s imagination was sparked not only by the instantly recognisable facades of the houses that line our suburban streets, but also, by what goes on within them. Yet rather than look at interpersonal dynamics and familial relationships, the artist explores the ‘private self’ through the way in which we choose to decorate our homes. For Arkley, these familiar interiors become investigative sites that enable him to playfully explore notions of aspiration and taste, together with the push-pull allure of suburban domesticity.   Arkley’s love of decoration and patterning was deeply connected to Australian suburbia, beginning as far back as 1978 with his photographic documentation of Australian flywire screen doors. Arkley and his first wife, artist Elizabeth Gower, had recently returned from travel in Europe and New York, where they had enthusiastically analysed and sketched the patterns they had encountered ‘in everything from the Paris railway station and linoleum, to Japanese prints and the paintings of Alfred Jensen and Henri Matisse.’4 However, for Arkley, it was these homegrown versions of Paris’ Art Deco and Art Nouveau grilles, gates and doorways that were to have the most influence, making their way at the time into his elegant black and white abstract paintings as decorative flourishes and repeated forms. As the artist explained:   ‘…on return [from overseas] the provincial Australian wrought iron fly-wire security door dominated my attention. I used the door format to arrive at my canvas proportion using what turned out to be unlimited variations of pattern and shapes… subject allowed me to produce non-figurative images of a nature that not many viewers would relate to; a common, shared, visual source.’5   As the extensive holdings of the State Library of Victoria’s substantial Howard Arkley Archive demonstrate, Arkley was a prodigious collector of references and material scavenged from both high- and low-brow sources. Images from real estate advertising and interior decoration magazines were a vital wellspring for the artist’s suburban imagery, just as the artist’s own photographs, collages, doodles and notes served as the creative fuel for the asynchronous juxtaposition of his works’ richly patterned surfaces. Arkley’s suburban exteriors can in many instances be directly correlated to the real estate advertising and schematic images of houses that filled his visual diaries (enriched by his own forays into the suburbs to take photographs). By contrast, the early interiors were often the outcome of the artist’s creative imagination; amalgamations of different materials, surfaces and products selected from magazines and advertising as if purchased as individual items from a catalogue and carefully brought together to create the ‘perfect’ home. As Arkley has said of the creation of one such work:                ‘The images in the painting came from a Myer direct mail catalogue, which I collaged together selecting all the elements that I really liked, those items which I thought were the best: the best carpet, the best light, the best chair plus a domestic pet…’6   However, like many of the interiors from 1992 onwards, the composition of Neapolitan delight, 1993 is closely based on an identifiable source: the 1976 US publication The Instant Decorator by Frances Joslin Gold, which was given to Arkley by fellow artist (and occasional collaborator) John Nixon, who had found it in an op shop.7 In an echoing of Arkley’s own techniques in terms of pattern and decoration, the book featured transparent sheets over each outlined interior so that the homemaker could place fabric swatches and colour samples underneath to test their effect. From this time, Arkley’s interiors were not based on local sources at all, but instead derived from international architecture and design publications, such as the Italian magazine Domus, and his own extensive library, which included books ‘on Russian Constructivist design, the de Stijl movement, the Bauhaus, Marcel Breuer’s furniture, and contemporary Italian design.’8 The use of the Gold source, and the ability it provided (by simply turning the page) to effectively glide from one room to the next, is replicated in the both the visual and physical experience of Arkley’s ambitious environment Fabricated Rooms, 1997 – 99 – a work that effectively collages Gold’s elegant but vacuous templates into a show home full of awkward juxtapositions and strange, unsettling angles. First exhibited at the Art Gallery of New South Wales in late 1997, and then at Benalla Regional Art Gallery in April 1998, the installation’s original thirteen panels were later expanded to seventeen so that the work could assume the role of centrepiece in Arkley’s solo exhibition in Venice.9 Arkley’s work has always drawn comparison to American and British Pop artists Roy Lichtenstein (1923 – 1997) and Patrick Caulfield (1936 – 2005), to name but a few, but both the ambition and sheer expanse of Fabricated Rooms has its closest international parallel in James Rosenquist’s masterwork F-111, 1964 – 65 which Arkley saw for the first time in the exhibition High and Low: Modern Art and Popular Culture at the Museum of Modern Art, New York in 1991.10   Arkley’s ability to manipulate his everyday source material is clearly demonstrated by the way in which he dramatically crops the ‘original’ image for Neapolitan delight, slicing the couch and the painting above it in half while zooming in to focus his composition on the fire burning within the hearth. The kookaburra painting on the wall may place the interior with the realm of Australian suburbia, but the stuffy furniture design and its kitschy decoration speaks, as the work’s title suggests, of a kind of translation of continental ‘good’ taste that could be witnessed for decades in the houses of European immigrants of the 1950s and 60s (exemplified by the excessive, neo-Baroque furniture of Melbourne’s iconic Franco Cozzo). One can also assume that Arkley would have relished the double entendre of the painting’s title and its reference to Neapolitan ice cream, with its stripes of pink (strawberry), white (vanilla) and brown (chocolate). Arkley’s lounge room is the ‘best room’ – kept for company, and rarely in use, but his knowing juxtaposition of discordant colour and pattern are more Pop psychedelia than ‘good’ taste, creating an all-consuming environment that would prompt any suburban housewife to have ‘a cup of tea, a Bex and a good lie down.’11   By the early 1990s, Arkley was at the height of his powers, particularly when it came to his skill with the airbrush – his tool of choice. The artist’s signature black lines have disappeared in Neapolitan delight, replaced by a complex scheme of coloured outlines that both contrast and clash with the jostling array of colours and patterns that are barely contained within them. However, Arkley’s creation of a joyous kitsch wonderland – with its competing dots, moiré flourishes and plaid – is more indifferent than critical, and it remains difficult, within this work and others, to ascertain his attitude to the suburbs:   ‘I don’t know… it’s a kind of love-hate thing. I love it [i.e. this type of suburban interior], but I wouldn’t want to live in it… You see photographs of rooms and you think, ‘My God, how do they live in that?’’12   Arkley recognised that life in the suburbs was the reality of most Australians, and he knew them from firsthand experience, having grown up in the eastern Melbourne suburb of Surrey Hills (which was also the home of artist John Brack, another Australian artist preoccupied by the suburbs). He was to make a return in 1991, moving to the outer Melbourne suburb of Caulfield with his partner Alison Burton. This ‘new’ environment also coincided with an increasing focus, between 1992 and 1994, on lavish suburban interiors like Neapolitan delight.   The international reach of Arkley’s art is evidenced by this work’s acquisition in 1994 for the Sigg Collection, Switzerland, well before the artist’s representation in Venice further catapulted his art world success. At the time of the work’s purchase, businessman and diplomat Uli Sigg had amassed one of the world’s largest collections of contemporary Chinese art. After its donation in 2012, the Sigg Collection formed the basis of the burgeoning collection of Hong Kong’s M+ prior to the museum’s long-awaited opening in 2021.   1. Howard Arkley, Suburban exterior, 1983. This painting was first exhibited in the exhibition Howard Arkley: Urban Paintings at Tolarno Galleries, South Yarra, 22 October – 13 November 1983, see Gregory, J., ‘ Suburban exterior (1983)’, Arkley Works, at: https://www.arkleyworks.com/blog/2009/11/16/suburban-exterior-1983/ (accessed 20 March 2025) 2. Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, New York, 2006, p. 1 3. The interiors were Suburban and Suburban interior, both painted in 1983, see Gregory, J., ‘1983’, Arkley Works, at: https://www.arkleyworks.com/blog/2009/11/16/1983/ (accessed 20 March 2025) 4. Brown, R., ‘Art in the Urban Environment’ in Casual Works: Working Drawings, Source Material, Doodles 1974 – 1987, 200 Gertrude Street, Melbourne, 1988, unpaginated, cited in Fitzpatrick, A., ‘Sampling: The Art of Howard Arkley’, Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 12 5. Fitzpatrick, ibid. 6. Howard Arkley cited in Lindsay, R., ‘Working Through the Decade: The Artists and Their Works’, The Baillieu Myer Collection of the 80s, Museum of Modern Art at Heide, Bulleen, 1994, p. 32. The work the artist is referring to is Suburban Interior, 1983 (Heide Museum of Modern Art) 7. Gregory, 2006, op. cit., p. 32 8. ibid., p. 28 9. Gregory, J., ‘Fabricated Rooms (1997 – 99)’, Arkley Works, at: https://www.arkleyworks.com/blog/2009/11/24/fabricated-rooms-1997-99/ (accessed 21 March 2025) 10. ibid. 11. Originally produced in South Australia during the 1920s, Bex Powders were a compound analgesic comprised of aspirin, phenacetin and caffeine, and were marketed specifically to women with the advertising slogan ‘Stressful day? What you need is a cup of tea, a Bex and a good lie down.’ Now part of Australian vernacular, the phrase was further cemented in the popular consciousness by the 1965 satirical review, A Cup of Tea, a Bex and a Good Lie Down, written by John McKellar and starring Reg Livermore and Ruth Cracknell. See: Hanna, K., ‘Bex Powders’, The Dictionary of Sydney, State Library of New South Wales, 2016 [archived 2021], at: https://dictionaryofsydney.org/entry/bex_powders (accessed 20 March 2025) 12. Howard Arkley cited in Gregory, J., Howard Arkley: Mix ‘n Match, A Series of Suburban Interiors, Tolarno Galleries, South Yarra, 1992, n. p.   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Deutscher and Hackett
  • HOWARD ARKLEY, (1951 - 1999), Zappo Head - c1992, synthetic polymer and ink on paper, sheet: 41.5 x 29.5 cm (frame: 76 x 62.5 cm)
    Apr. 29, 2025

    HOWARD ARKLEY, (1951 - 1999), Zappo Head - c1992, synthetic polymer and ink on paper, sheet: 41.5 x 29.5 cm (frame: 76 x 62.5 cm)

    Est: $5,000 - $6,000

    HOWARD ARKLEY (1951 - 1999) Zappo Head - c1992 synthetic polymer and ink on paper signed lower right

    Lawsons
  • HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 6/499 93 x 73cm (image); 103 x 82.5cm (sheet); 122 x 99cm...
    Apr. 16, 2025

    HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 6/499 93 x 73cm (image); 103 x 82.5cm (sheet); 122 x 99cm...

    Est: $3,000 - $4,000

    HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 6/499 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 73cm (image); 103 x 82.5cm (sheet); 122 x 99cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne 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 & CHRISTINE JOHNSON (1951-1999) & born 1958, Suburban Landscape 1987
    Apr. 09, 2025

    HOWARD ARKLEY & CHRISTINE JOHNSON (1951-1999) & born 1958, Suburban Landscape 1987

    Est: $120,000 - $160,000

    PROPERTY FORMERLY FROM THE COLLECTION OF GEORGES MORA, MELBOURNE HOWARD ARKLEY & CHRISTINE JOHNSON (1951-1999) & born 1958 Suburban Landscape 1987 synthetic polymer paint on canvas 160.0 x 120.0 cm; 164.0 x 124.0 cm (framed) signed, dated and inscribed verso: Title. Suburban Landscape/ (spotted dog and spoted [sic] curtain)/ HOWARD ARKLEY/ DATE. 1987/ size 120 cm x 160 cm/ MEDIUM Acrylic on canvas/ Howard Arkley 87

    Menzies
  • HOWARD ARKLEY (1951-1999), Sampler: Formal 1998
    Apr. 09, 2025

    HOWARD ARKLEY (1951-1999), Sampler: Formal 1998

    Est: $300,000 - $380,000

    PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE HOWARD ARKLEY (1951-1999) Sampler: Formal 1998 synthetic polymer paint on canvas 150.0 x 120.0 cm; 153.0 x 123.0 cm (framed) signed, dated and inscribed verso: Sampler: Formal 1998 Howard Arkley

    Menzies
  • HOWARD ARKLEY 1951-1999 Triple Fronted 1993 hand-coloured screenprint on paper, edition 1 of 5 72 x 108 cm (image)
    Apr. 08, 2025

    HOWARD ARKLEY 1951-1999 Triple Fronted 1993 hand-coloured screenprint on paper, edition 1 of 5 72 x 108 cm (image)

    Est: $20,000 - $30,000

    HOWARD ARKLEY 1951-1999 Triple Fronted 1993 hand-coloured screenprint on paper, edition 1 of 5 inscribed '1/5' lower left; signed and dated '1993 Howard Arkley' lower right 72 x 108 cm (image) PROVENANCE Howard Arkley, Melbourne Private Collection, Melbourne, acquired from the above in 1995 LITERATURE John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated, another version), as ‘Untitled House'

    Smith & Singer
  • HOWARD ARKLEY (1951-1999) Weaving 1980 synthetic polymer paint, ink and graphite on paper 67 x 94cm (reveal)
    Mar. 18, 2025

    HOWARD ARKLEY (1951-1999) Weaving 1980 synthetic polymer paint, ink and graphite on paper 67 x 94cm (reveal)

    Est: $12,000 - $16,000

    HOWARD ARKLEY (1951-1999) Weaving 1980 synthetic polymer paint, ink and graphite on paper signed, dated and inscribed lower left: H Arkley 80 FOR Daneil [sic] 81 Sept. 67 x 94cm (reveal) PROVENANCE: Gift of the Artist 1981 Private collection, Melbourne Thence by descent EXHIBITIONS: Howard Arkley, Solander Gallery, Canberra, October - November 1981, cat. no. 7 LITERATURE: Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2009/11/15/weaving-1981-wp/ OTHER NOTES: © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

    Leonard Joel
  • Howard Arkley, (Australia 1951-1999), Triple Fronted Brick Verner, Lim Ed Giclee Print, 37 x 54 cm. (14.5 x 21.2 in.), Frame: 48 x 61 cm. (18.9 x 24.0 in.)
    Mar. 02, 2025

    Howard Arkley, (Australia 1951-1999), Triple Fronted Brick Verner, Lim Ed Giclee Print, 37 x 54 cm. (14.5 x 21.2 in.), Frame: 48 x 61 cm. (18.9 x 24.0 in.)

    Est: -

    Howard Arkley (Australia, 1951-1999) Triple Fronted Brick Verner Lim Ed Giclee Print 1/100

    Bargain Hunt Auctions
  • Howard Arkley, Australian 1951-1999, Tulips, Acrylic on Paper, 75 x 54 cm. (29.5 x 21.2 in.), Frame: 100 x 72 cm. (39.3 x 28.3 in.)
    Mar. 02, 2025

    Howard Arkley, Australian 1951-1999, Tulips, Acrylic on Paper, 75 x 54 cm. (29.5 x 21.2 in.), Frame: 100 x 72 cm. (39.3 x 28.3 in.)

    Est: -

    Howard Arkley Australian, 1951-1999 Tulips Acrylic on Paper Signed lower right.

    Bargain Hunt Auctions
  • Howard Arkley, (Australia 1951-1999), Triple Fronted Brick Verneer, Hand Coloured Screen Print, 78 x 106 cm. (30.7 x 41.7 in.), Frame: 94 x 121 cm. (37.0 x 47.6 in.)
    Mar. 02, 2025

    Howard Arkley, (Australia 1951-1999), Triple Fronted Brick Verneer, Hand Coloured Screen Print, 78 x 106 cm. (30.7 x 41.7 in.), Frame: 94 x 121 cm. (37.0 x 47.6 in.)

    Est: -

    Howard Arkley (Australia, 1951-1999) Triple Fronted Brick Verneer Hand Coloured Screen Print Signed Lower right

    Bargain Hunt Auctions
  • HOWARD ARKLEY, 1951-1999, Zappo Head, archival pigment print 2/20, 37x28cm
    Feb. 02, 2025

    HOWARD ARKLEY, 1951-1999, Zappo Head, archival pigment print 2/20, 37x28cm

    Est: $500 - $800

    HOWARD ARKLEY 1951-1999 Zappo Head archival pigment print 2/20 signed lower centre

    Lawsons
  • Howard Arkley (1951-1999), Acrylic on canvas, major work, Home 1987, signed & inscribed Verso 240 x 166 cm.
    Dec. 11, 2024

    Howard Arkley (1951-1999), Acrylic on canvas, major work, Home 1987, signed & inscribed Verso 240 x 166 cm.

    Est: $40,000 - $80,000

    Howard Arkley (1951-1999), Acrylic on canvas, major work, Home 1987, signed & inscribed Verso 240 x 166 cm. Provenance. Nancy Long, Melbourne (purchased from Artist) : Arno Philips, Melbourne, Private collection, Melbourne (Documentation available on request)

    Woodlands Auctions
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