Bruce Armstrong Paintings & Artwork for Sale | Bruce Armstrong Art Value Price Guide

Aug. 27, 2026
BRUCE ARMSTRONG (1957-2024), Perching Bird conceived 2000; cast 2023
Est: $30,000 - $40,000
PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE BRUCE ARMSTRONG (1957-2024) Perching Bird conceived 2000; cast 2023 bronze 54.0 x 13.0 x 10.0 cm edition: 1/7 stamped with artist's monogram and Perrin Sculpture Foundry mark to base numbered to base: 1/7 PROVENANCE Acquired from the artist, private collection, Melbourne
Menzies
Jun. 30, 2026
BRUCE ARMSTRONG (1957-2024) The Beginning of Things 1991 painted hand-carved redgum 88 x 70 x 3.5 (irregular)
Est: $4,000 - $6,000
BRUCE ARMSTRONG (1957-2024) The Beginning of Things 1991 painted hand-carved redgum initialled, titled and dated verso: 'THE BEGINNING OF THINGS'/ BA 1991 88 x 70 x 3.5 (irregular) PROVENANCE: John Buckley Gallery, Melbourne Private collection, Melbourne OTHER NOTES: © Bruce Armstrong/Copyright Agency, 2026
Leonard Joel
Apr. 29, 2026
Bruce Armstrong, Bird, 2021
Est: $60,000 - $80,000
Bruce Armstrong (1957 - 2024) Bird, 2021 painted bronze with stained plywood base 165.0 cm (height, including base) edition: A/P aside from an edition of 3 signed with initials: BA stamped at base with Perin Sculpture foundry mark PROVENANCE Private collection, Melbourne RELATED WORK Bird, 1993, cypress pine and synthetic polymer paint, 160.0 x 90.0 x 90.0 cm, Art Gallery of Ballarat, Victoria ESSAY Birds reign supreme in Bruce Armstrong’s private sculptural bestiary, their aloofness and commanding presence echoing the ancient and mystical power they hold for many cultures across the world. ‘Birds are everyone’s allegory, a totem for all personalities. Every culture had bird stories… one can sift through the history of art and find images of birds in the earliest of humanity’s imagery’, the artist explained in 2003.1 Indeed it was the artist’s introduction in art school to ancient Egyptian sculpture and American Indian totemic carving that would stimulate a lifelong interest in the animistic power of these animals, and lead to a series of wooden carvings of birds created throughout his career. Many of these sculptures were later industrially fabricated into monumental and well-loved public sculptural installations – including Eagle (Bunjil), 2002 in Docklands, Melbourne and Owl, 2010 in Belconnen, Canberra. The symmetrical, columnar silhouette of Bird, 2021, presents an essential expression of the animal, reduced to its most identifying feature – a beaked jaw running in one smooth arc. While many of Bruce Armstrong’s bird sculptures include identifying physical features which link them to specific species – the talons of a sea eagle, or the long tail of the powerful owl – this Bird is the platonic ideal of the animal, smoothed to a simple graphic outline. The heraldic, two-dimensional quality of Bird also evokes the hieratic forms of Egyptian art, where the sky god Horus, protector of the pharaohs, took the form of a bird of prey. Surveying the viewer with a painted beady and rounded eye, this focal point of Armstrong’s bird references the importance of the eyes of Horus. The right one was said to be the sun, while the left was the moon, while the disembodied eye became the wedjat-eye imbued with protective magical powers. Armstrong’s birds are not only mediators between the physical and celestial planes, but also become watchful guardian sentinels, at times safely encircling the built world with their outstretched wings, as in Obelisk, 2008. Sculpting from massive fallen trunks, often hundreds of years old, Armstrong has steadfastly persisted with a style of artmaking reliant on brawn and a high degree of technical craftsmanship. The carved muscularity of his burly and rustic forms creates a raw commanding physical presence. Originally conceived as a timber totem hewn from a Cypress trunk – Bird, 1993 (Art Gallery of Ballarat) – this bronze casting from 2021 simulates almost exactly the materiality, appearance and texture of the artist’s original timber maquette, its cold surface invitingly woven with directional chisel markings. The simplified colours and volumes of Armstrong’s fabricated sculptures serve to highlight the tactile surface texture of the bronze, the woodworker’s grooves and rough traces left unpolished throughout the casting process. Bird’s emphatic mass retains a trace of the cylindrical structure of the original tree trunk, evoking the verticality of carved totem poles from the Indigenous peoples of the Northwest coast of Canada. Softening the imposing volumetric weight of this form, Armstrong’s Bird is simple, raw and vernacular, providing a blank canvas for interpretation and engagement with each environment and viewer. 1. Bruce Armstrong, cited in ‘Why Birds?’, Webb, V., MCA Unpacked II: Six Artists Select from the MCA Collection, Museum of Contemporary Art, Sydney, 2003, p. 8 LUCIE REEVES-SMITH © Bruce Armstrong
Deutscher and Hackett
Nov. 28, 2025
Bruce Armstrong (1957- ) Australia - The World
Est: $400 - $500
Bruce Armstrong (1957- ) Australia - The World Print Ed AP Signed lower right, edition lower left, Title verso
Colville Auctions
Nov. 19, 2025
BRUCE ARMSTRONG (1957-2024), Tabby c1990
Est: $35,000 - $45,000
PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE BRUCE ARMSTRONG (1957-2024) Tabby c1990 bronze with white patina on painted timber base 164.0 x 44.0 x 31.0 cm (including base) edition: Artist's Proof (edition of 5) stamped with artist's monogram to base of bronze numbered to base of bronze: AP Perrin Sculpture Foundry, Melbourne, stamp to base of bronze
Menzies
Oct. 21, 2025
BRUCE ARMSTRONG (1957-2024) (Penguin) hand-carved redgum and base 69 x 28.5 x 26cm; 191cm (height, including base)
Est: $10,000 - $15,000
BRUCE ARMSTRONG (1957-2024) (Penguin) hand-carved redgum and base 69 x 28.5 x 26cm; 191cm (height, including base) PROVENANCE: The Artist Private collection, Melbourne OTHER NOTES: © Bruce Armstong/Copyright Agency, 2025
Leonard Joel
Oct. 21, 2025
BRUCE ARMSTRONG (1957-2024) (Eagle) 2000 painted hand-carved hardwood 47 x 15 x 13cm
Est: $5,000 - $8,000
BRUCE ARMSTRONG (1957-2024) (Eagle) 2000 painted hand-carved hardwood signed, dated and inscribed at base: To David/ (G.O.D) from/ Bruce +/ Linde/ Happy/ Birthday 2000! 47 x 15 x 13cm PROVENANCE: The Artist Private collection, Melbourne OTHER NOTES: © Bruce Armstong/Copyright Agency, 2025
Leonard Joel
Sep. 18, 2025
BRUCE ARMSTRONG, (HEAVY WEIGHT),
Est: $1,000 - $2,000
BRUCE ARMSTRONG, (HEAVY WEIGHT), OIL ON CANVAS ON BOARD, UNSIGNED, 15 X 31.5CM, FRAME SIZE: 24 X 34.5CM PROVENANCE: THE ARTIST; PRIVATE COLLECTION, MELBOURNE PROVENANCE: THE ARTIST STUDIO PRIVATE COLLECTION, MELBOURNE
Leonard Joel
Sep. 11, 2025
BRUCE ARMSTRONG, (HEAVY WEIGHT),
Est: $1,000 - $2,000
BRUCE ARMSTRONG, (HEAVY WEIGHT), OIL ON CANVAS ON BOARD, UNSIGNED, 15 X 31.5CM, FRAME SIZE: 24 X 34.5CM PROVENANCE: THE ARTIST STUDIO PRIVATE COLLECTION, MELBOURNE
Leonard Joel
Sep. 11, 2025
BRUCE ARMSTRONG, THE DOCTOR,
Est: $400 - $600
BRUCE ARMSTRONG, THE DOCTOR, ETCHING ED. AP, SINGNED LOWER RIGHT, 15.5 X 13CM, FRAME SIZE: 38 X 34CM
Leonard Joel
Sep. 03, 2025
Bruce Armstrong, (1957-2024), Untitled (Bears in Conversation), c. 1989, charcoal on paper, 42 x 59 cm
Est: $800 - $1,200
Bruce Armstrong (1957-2024) Untitled (Bears in Conversation), c. 1989 charcoal on paper signed l.r.c. 'B.A'
Shapiro Auctioneers
Sep. 02, 2025
Bruce Armstrong, (1957-2024), Slough, 2000, painted carved timber, 193 x 62 cm
Est: $5,000 - $7,000
Bruce Armstrong (1957-2024) Slough, 2000 painted carved timber inscribed, titled and dated verso 'B Armstrong, Slough, 2000'
Shapiro Auctioneers
Aug. 20, 2025
BRUCE ARMSTRONG (1957-2024), Bunjil 2003
Est: $90,000 - $120,000
PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE BRUCE ARMSTRONG (1957-2024) Bunjil 2003 painted fibreglass on bronze base 208.0 x 52.0 x 40.0 cm (including base) edition: Artist's Proof 1/2 (edition of 9 in bronze) signed with initials, dated and numbered to tail: B.A. AP1 2003
Menzies
Jul. 10, 2025
BRUCE ARMSTRONG, UNTITLED 1988,
Est: $1,400 - $2,400
BRUCE ARMSTRONG, UNTITLED 1988, CHARCOAL ON PAPER, ARTIST'S NAME, TITLE AND DATE ON GALLERY LABEL VERSO, 76 X 57CM, FRAME SIZE: 100 X 79CM PROVENANCE: POWELL STREET GRAPHICS, MELBOURNE (LABEL VERSO); PRIVATE COLLECTION, MELBOURNE
Leonard Joel
Jul. 03, 2025
BRUCE ARMSTRONG, UNTITLED 1988,
Est: $1,800 - $2,800
BRUCE ARMSTRONG, UNTITLED 1988, CHARCOAL ON PAPER, ARTIST'S NAME, TITLE AND DATE ON GALLERY LABEL VERSO, 76 X 57CM, FRAME: 100 X 79CM PROVENANCE: POWELL STREET GRAPHICS, MELBOURNE (LABEL VERSO); PRIVATE COLLECTION, MELBOURNE
Leonard Joel
Jun. 26, 2025
BRUCE ARMSTRONG, UNTITLED 1988,
Est: $2,000 - $3,000
BRUCE ARMSTRONG, UNTITLED 1988, CHARCOAL ON PAPER, ARTIST'S NAME, TITLE AND DATE ON GALLERY LABEL VERSO, 76 X 57CM, FRAME: 100 X 79CM PROVENANCE: POWELL STREET GRAPHICS, MELBOURNE (LABEL VERSO); PRIVATE COLLECTION, MELBOURNE
Leonard Joel
Jun. 18, 2025
BRUCE ARMSTRONG (1957-2024), Hug conceived 1990s; cast 2021
Est: $12,000 - $16,000
PROPERTY FROM A PRIVATE COLLECTION, ADELAIDE BRUCE ARMSTRONG (1957-2024) Hug conceived 1990s; cast 2021 bronze with white patina on timber base 63.0 x 28.0 x 22.0 cm (including base) edition: 1/5 signed with initials, dated and numbered to base of bronze: BA 1/5 21 Perrin Sculpture Foundry, Melbourne, stamp to base of bronze
Menzies
Nov. 25, 2024
Bruce Armstrong, (1957-2024), After, 1989, charcoal on paper, 42 x 60 cm (unframed)
Est: $800 - $1,200
Bruce Armstrong (1957-2024) After, 1989 charcoal on paper titled and dated verso 'After, 1989'
Shapiro Auctioneers
Nov. 20, 2024
BRUCE ARMSTRONG (1957-2024), Owl conceived 2016, cast 2021
Est: $30,000 - $40,000
PROPERTY FROM A PRIVATE COLLECTION, ADELAIDE BRUCE ARMSTRONG (1957-2024) Owl conceived 2016, cast 2021 painted bronze on timber base 170.0 x 40.0 x 40.0 cm edition: Artist's Proof (edition of 7) signed with initials and numbered to base of owl: BA AP Perrin Sculpture Foundry, Melbourne, stamp to base of owl
Menzies
Oct. 22, 2024
BRUCE ARMSTRONG (1957-2024) Spirit 1999 pastel, pigment and charcoal on paper 76 x 56cm
Est: $4,000 - $6,000
BRUCE ARMSTRONG (1957-2024) Spirit 1999 pastel, pigment and charcoal on paper initialled and dated lower left: BA '99 artist's name, title and date on gallery label verso 76 x 56cm PROVENANCE: The Artist Private collection, Melbourne OTHER NOTES: © Bruce Armstong/Copyright Agency, 2024
Leonard Joel
Sep. 24, 2024
Bruce Armstrong, (1957-2024), Let's Go!, 1989, pastel on paper, 60 x 42 unframed
Est: $800 - $1,200
Bruce Armstrong (1957-2024) Let's Go!, 1989 pastel on paper titled and dated verso 'Let's Go!, 1989'
Shapiro Auctioneers
Sep. 24, 2024
Bruce Armstrong, (1957-2024), Sick of It, 1989, pastel on paper, 60 x 42 cm unframed
Est: $800 - $1,200
Bruce Armstrong (1957-2024) Sick of It, 1989 pastel on paper
Shapiro Auctioneers
Sep. 24, 2024
Bruce Armstrong, (1957-2024), Goodbye, 1989, ink and gouache on paper, 17.5 x 13.5 cm (unframed)
Est: $600 - $800
Bruce Armstrong (1957-2024) Goodbye, 1989 ink and gouache on paper signed l.r.c. 'B.A.'
Shapiro Auctioneers
Sep. 24, 2024
Bruce Armstrong, (1957-2024), There's More To It, 1989, charcoal on paper, 60 x 42 cm unframed
Est: $800 - $1,200
Bruce Armstrong (1957-2024) There's More To It, 1989 charcoal on paper titled and dated verso 'There's More to It, 1989'
Shapiro Auctioneers
Sep. 24, 2024
Bruce Armstrong, (1957-2024), Back Again, painted and engraved wood, 22 x 22 cm
Est: $1,500 - $3,000
Bruce Armstrong (1957-2024) Back Again painted and engraved wood titled verso 'Back Again'
Shapiro Auctioneers
Aug. 28, 2024
BRUCE ARMSTRONG (1957-2024), The Cricketer conceived 1987; cast 2021
Est: $25,000 - $35,000
PROPERTY FROM A PRIVATE COLLECTION, SYDNEY BRUCE ARMSTRONG (1957-2024) The Cricketer conceived 1987; cast 2021 bronze with white patina on timber base 83.0 x 21.0 x 12.0 cm (bronze); 163.0 x 33.5 x 24.5 cm (including plinth) edition: 1/4 signed with initials, dated and numbered to base: BA 1/4 '21 Perrin Sculpture Foundry, Melbourne stamp to base
Menzies
Jun. 11, 2024
Bruce Armstrong (1957-2024) Australia - The End
Est: $2,500 - $3,500
Bruce Armstrong (1957-2024) Australia The End Charcoal, Conte, pencil on paper Artist monogram lower left, signed, dated lower right, title Inscribed verso
Colville Auctions
Nov. 22, 2023
BRUCE ARMSTRONG, BUNJIL, 2003
Est: $70,000 - $90,000
BRUCE ARMSTRONG born 1957 BUNJIL, 2003 painted bronze 95.cm (height) 234.5 cm (height, including timber base) from an edition of 9 stamped at base with Perin Sculpture foundry mark PROVENANCE Private collection, Melbourne RELATED WORK Bunjil, 2002, painted aluminium and wood, 2500 cm height, unique, commissioned by the Melbourne Docklands Authority, Melbourne Eagle, 2002, painted wood, 500 cm height, unique, in the collection of the Pt. Leo Estate, Victoria ESSAY Towering high, perched on a smooth-edged timber plinth, Bruce Armstrong’s gleaming white bronze eagle, Bunjil, 2003 surveys his domain. Best known for having created monumental heraldic animals built to exist in open public spaces, from 2003 – 2012 Armstrong also created in parallel a small suite of editioned bronzes based on selected timber sculptures. From a small edition of 9, each with its own unique timber plinth, this eagle was amongst the first to be cast and coloured by Bill Perrin, whose technical prowess simulated almost exactly the materiality, appearance and texture of the artist’s original timber maquette.1 Originally conceived around 1996 as a painted timber totem roughly hewn from cypress wood, the simplified polychrome design of a sea eagle at rest was later scaled-up into a vast seven-story aluminium public sculpture, Eagle (also known as Bunjil), commissioned by the Melbourne Docklands Authority in 2002.2 Later joined by the pair of aquiline Guardians, 2009 installed at the entrance of the Hyatt Hotel, Armstrong’s avian sculptures have changed the aesthetic fabric of the city of Melbourne and provided its urban environment with a deeper, more spiritual connection to the land. Bruce Armstrong, a self-confessed twitcher, writes: ‘Bird’s are everyone’s allegory, a totem for all personalities. Every culture has bird stories… one can sift through the history of art and find images of birds in the earliest of humanity’s imagery.’3 His oeuvre is peppered with avian forms, most devoid of naturalistic detail and adopting symbolic shapes of varying simplification. Some resting, others using their outspread wings as protective, encircling shields. Painted a uniform white with pigments mixed with marine acrylic (a defensive weather patina), this bronze Bunjil stands proud with a striking silhouette, his eyes narrowed and beak slightly lowered, a watchful sentinel. Armstrong’s simplified colours and volumes serve to highlight the tactile surface texture of the bronze, the grooves and rough traces of his carpentry tools having been preserved throughout the casting process. This carved muscularity creates a raw commanding presence for Armstrong’s broad-shouldered bird of prey, evoking the ancient power of the wedge-tailed eagle creator spirit and ancestral being of the local Kulin Nations of South-Eastern Australia. For the Wurundjeri-Woi Wurrung people of the lands around the Birrarung (Yarra River) and even further south to the Boon-Wurrung lands around Port Phillip Bay, Bunjil is revered as one of two moiety ancestors, the other being Waang, the crow. In these language groups, orally transmitted stories singing Country and Law featured Bunjil. They explained the creation of the local lands and provided guidance for moral and social behaviour. In these creation myths, the wedge-tailed eagle plays a very active role. Using his massive wingspan and from his beak, he blew winds of change and fashioned living things with his talons. In spite of this energetic, world-building activity, Armstrong’s Bunjil is solidly static, its heavy mass finally at rest, balancing evenly on stylised columnar legs and roughly incised talons. With an endearing and habitual untidiness, Armstrong’s sculptures are raw and vernacular, their simplicity providing a blank and accessible canvas for interpretation and engagement with each viewer and environment. 1. Gott, T., ‘Acts of Love: The Art of Bruce Armstrong’, Bruce Armstrong. An Anthology of Strange Creatures, National Gallery of Victoria, Melbourne, 2018, p. 36 2. ibid., p. 35 3. Armstrong, B., ‘Why Birds?’ in Webb, V., MCA Unpacked II: Six Artists Select from the MCA Collection, Museum of Contemporary Art, Sydney, 2003, p. 8 LUCIE REEVES-SMITH © Bruce Armstrong
Deutscher and Hackett
Aug. 16, 2023
BRUCE ARMSTRONG, GUARDIANS [PAIR OF MAQUETTES FOR THE GRAND HYATT HOTEL, MELBOURNE], 2009 – 2021
Est: $140,000 - $180,000
BRUCE ARMSTRONG born 1957 GUARDIANS [PAIR OF MAQUETTES FOR THE GRAND HYATT HOTEL, MELBOURNE], 2009 – 2021 cast and painted bronze on timber bases 205.0 cm (height, each, including base) i. edition: 6/10 i. signed with initials and numbered at base: BA / 6/10 422 ii. edition: 7/10 ii. signed with initials and numbered at base: BA / 7/10 / IRO PROVENANCE & Gallery, Victoria Private collection, Victoria, acquired from the above in 2021 ESSAY The massive hewn beasts that form Bruce Armstrong’s mystical menagerie have safeguarded Melbourne’s urban environment for decades. Sculpting from fallen trunks, often hundreds of years old, Armstrong has steadfastly persisted with a style of art making reliant on brawn and a high degree of technical craftsmanship. Beginning with illustrious commissions in the late 1980s, most notably Guardians, 1987, the pair of crouching beasts standing at the entrance of the National Gallery of Victoria, Armstrong has made a career of creating monumental totemic figures built to exist in the open public space. For Melburnians, the public installation of his three landmark eagles – the 23m tall Bunjil, 2002 surveying the Docklands and the pair of aquiline Guardians, 2009 installed at the entrance of the Hyatt Hotel – have changed the aesthetic fabric of the city and provided the urban environment with a deeper, more spiritual connection to the land. Placed upon robust plinths replicating rustic wooden beams, and gleaming with a simple tonal contrast and subtle polished metal details, these Guardians, 2009 – 2021 are editioned bronzes, recreating in a domestic scale the imposing and memorable format of Armstrong’s Guardians at the Russell Street entrance of Melbourne’s Hyatt Hotel. They are turned with heads cocked in static and silent dialogue, omniscient and ever watchful. Painted a uniform white with pigments mixed with marine acrylic (a defensive weather patina), the Guardians stand proud with a striking silhouette. Their smoothed simplified shapes embody the Wedge-Tailed Eagle, Australia’s largest bird of prey and a significant figure in local Indigenous mythology. An ancestral being, one of two moiety forebears, Bunjil, the Wedge-Tailed Eagle holds a central role in the creation stories of the Boon Wurrung and Woi Wurrung language groups of the greater Kulin Nation of south-eastern Australia. In addition to creating the land and its features, Bunjil was said to have made people by breathing life into clay figures and exerted control over rising seas threatening the habitability of their lands.1 Armstrong’s sculptural (and two dimensional) work embraces the folkloric and animistic potential of animals, drawing inspiration from long standing traditions in American, Egyptian, Hawaiian and indigenous Australian cultures. His figures have a physical and psychological presence without referring back to a specific mythology, purely utilising emotional effects of the muscular formal qualities of his sculptures. In an interview conducted during his 2018 survey exhibition at the National Gallery of Victoria, Armstrong acknowledged that while his Docklands Bunjil was not created with the Indigenous significance in mind, he appreciated the organic links that were later formed with First Nations Australians and the exposure it gave to the creation stories around Bunjil for local groups.2 Bruce Armstrong, a self-confessed twitcher and having idealised himself as a falconer within a 2005 self-portrait3, writes: ‘Bird’s are everyone’s allegory, a totem for all personalities. Every culture has bird stories… one can sift through the history of art and find images of birds in the earliest of humanity’s imagery.’4 His oeuvre is peppered with avian forms, most devoid of detail and adopting a symbolic shape of varying simplification. Some resting, others using their outspread wings as protective, encircling shields. Based on an early maquette from 1996, the docklands Bunjil had prominent, defined legs and talons gripping the plinth behind which fell his folded wings and tail. This present pair of Guardians, based on a later design, features a simpler form which smooths the eagle’s turned head, body and legs into one even and uniform plane. Unlike the public monumental versions, their talons are symbolically chiselled into the base in a chevron pattern, inlaid with gleaming bronze diamonds. Although cast in bronze, an effect of carved muscularity is retained through the preserved chisel marks, rustic clefts and ridges left unpolished on the surface of the sculpture. Armstrong sustainably sources his wood from trunks destined for mulching and honours the long survival they have endured throughout history by keeping a tactile materiality and authentic roughness to his finished sculptures. Armstrong creates a curious tension between the dense mass of his sculptures, and the aerial verticality of his avian forms perched atop totem poles. From this high vantage point, the Guardians survey the area, one looking straight out and the other turned to the side, eyeing the periphery. They do not simply mirror each other, instead displaying an organic duality, more closely linked to the environment in which they are placed. Endowed with a commanding presence, these watchful sentinels are intended to be placed on either side of an entrance to a place of cultural significance. With an endearing untidiness, Armstrong’s Guardians are raw and vernacular, their simplicity providing a blank canvas for interpretation and engagement with each environment and viewer. 1. Bunjilaka Aboriginal Cultural Centre, Museums Victoria, see: https://museumsvictoria.com.au/bunjilaka/about-us/ (accessed June 2023) 2. Armstrong in conversation with David Hurlston in Bruce Armstrong. An Anthology of Strange Creatures, National Gallery of Victoria, Melbourne, 2018, p. 4 3. Self Portrait, 2005, acrylic on board, 157 x 127 cm, entered in the 2005 Archibald Prize: https://www.artgallery.nsw.gov.au/prizes/archibald/2005/28082/ (accessed June 2023) 4. Armstrong, B., ‘Why Birds?’ in Webb, V., MCA Unpacked II: Six Artists Select from the MCA Collection, Museum of Contemporary Art, Sydney, 2003, p. 8 LUCIE REEVES-SMITH © Bruce Armstrong
Deutscher and Hackett
May. 18, 2023
BRUCE ARMSTRONG (1957 - ) - Untitled painted hand-carved hardwood h. 116, w. 28, d. 29 cm
Est: $2,000 - $3,000
BRUCE ARMSTRONG (1957 - ) Untitled painted hand-carved hardwood h. 116, w. 28, d. 29 cm inscribed to base
Lawsons
Sep. 14, 2022
BRUCE ARMSTRONG, BUNJIL, 2009
Est: $20,000 - $30,000
BRUCE ARMSTRONG born 1957 BUNJIL, 2009 cast and painted bronze 97.0 cm height edition: 1/9 signed, dated and numbered at base: 1/9 ’09 BA stamped with Perrin Sculpture foundry mark at base PROVENANCE Corporate collection, Sydney RELATED WORK Bunjil, 2002, painted aluminium and wood, 2500 cm height, unique, commissioned by the Melbourne Docklands Authority, Melbourne Eagle, 2002, painted wood, 500 cm height, unique, in the collection of the Pt. Leo Estate, Victoria © Bruce Armstrong
Deutscher and Hackett
Nov. 19, 2020
BRUCE ARMSTRONG born 1957 Bunjil 2003
Est: $60,000 - $80,000
BRUCE ARMSTRONG born 1957 Bunjil 2003 painted bronze and wood 235.0 x 37.0 x 29.0 cm from an edition of 9 bronzes with unique wooden plinths stamped with Perrin Sculpture foundry mark lower right
Menzies
May. 05, 2020
BRUCE ARMSTRONG (born 1957) Owl 2016-20 painted bronze on cypress plinth edition of 7
Est: $18,000 - $24,000
BRUCE ARMSTRONG (born 1957) Owl 2016-20 painted bronze on cypress plinth edition of 7 signed, dated, and numbered to base of owl 190cm (including base) OTHER NOTES: Related works: Bruce Armstrong, Owl 2011, cast composite, steel, hardwood, paint, commissioned for artsACT for Corner Belconnen & Benjamin Way Bruce Armstrong, Eagle (Bunjil) 2002, Red Gum, aluminium, steel, fibreglass, Collection of the Victorian State Government (Places Victoria)
Leonard Joel
Mar. 17, 2020
BRUCE ARMSTRONG (born 1957) House 2001 mixed media on paper
Est: $1,500 - $2,500
BRUCE ARMSTRONG (born 1957) House 2001 mixed media on paper initialled and dated lower right 75 x 55.5cm PROVENANCE: Private collection, Melbourne
Leonard Joel
Feb. 27, 2020
BRUCE ARMSTRONG born 1957, Our Town 1998
Est: $14,000 - $18,000
BRUCE ARMSTRONG born 1957, Our Town 1998 synthetic polymer paint on cypress 140.0 x 54.0 x 28.5 cm signed with initials and dated to base: BA '98
Menzies
Oct. 23, 2019
BRUCE ARMSTRONG born 1957 Penguin (1991) redgum 29 x 17 x 15 cm
Est: $3,000 - $5,000
BRUCE ARMSTRONG born 1957 Penguin (1991) redgum 29 x 17 x 15 cm PROVENANCE Mrs Rae Rothfield, Melbourne
Smith & Singer
Oct. 23, 2019
BRUCE ARMSTRONG born 1957 Owl (1991) redgum 50 x 25.5 x 21.5 cm
Est: $3,000 - $5,000
BRUCE ARMSTRONG born 1957 Owl (1991) redgum 50 x 25.5 x 21.5 cm PROVENANCE Powell Street Gallery, Melbourne Mrs Rae Rothfield, Melbourne, acquired from the above in May 1991 EXHIBITED Small Sculptures, Powell Street Gallery, Melbourne, 18-30 May 1991, no. 1
Smith & Singer
Nov. 21, 2018
Bruce Armstrong (b. 1957)
Est: $1,000 - $1,500
He Remembers, c. 1990, carved wood and paint, titled and signed verso 'He Remembers, BA '21'
Shapiro Auctioneers
May. 14, 2018
Bruce Armstrong (b. 1957)
Est: $1,000 - $1,500
The Passion V, 1986, collage and pastel on paper, signed 'BA' in an overlapping style at lower centre, The Hughes Gallery, Stock no. BA037
Shapiro Auctioneers
May. 14, 2018
Bruce Armstrong (b. 1957)
Est: $2,000 - $3,000
Bear with Hut, carved hardwood
Shapiro Auctioneers
Nov. 30, 2017
BRUCE ARMSTRONG born 1957, Our Town 1998
Est: $16,000 - $20,000
BRUCE ARMSTRONG born 1957, Our Town 1998 BRUCE ARMSTRONG born 1957, Our Town 1998 synthetic polymer paint on cypress, 140.0 x 54.0 x 28.5 cm signed with initials and dated to base: BA '98 , , Company collection, Melbourne Joel Fine Art, Melbourne, 16 October 2006, lot 158 (as Serpent over the City) Private collection, Melbourne Savage Beauty: The Art of Bruce Armstrong, Museum of Modern Art at Heide, Victoria, 31 July - 26 September 1999, (illus. exhibition catalogue, p.40)
Menzies
Nov. 28, 2017
BRUCE ARMSTRONG (born 1957) (Smiling Creature) c.1987 red gum
Est: $14,000 - $20,000
BRUCE ARMSTRONG (born 1957) (Smiling Creature) c.1987 red gum 122 x 67 x 56cm PROVENANCE: Powell Street Gallery, Melbourne c.1987 Private collection, Melbourne
Leonard Joel
Nov. 28, 2017
BRUCE ARMSTRONG (born 1957) Untitled (House) carved cedar
Est: $2,000 - $3,000
BRUCE ARMSTRONG (born 1957) Untitled (House) carved cedar 75 x 43 x 27cm
Leonard Joel
May. 11, 2017
BRUCE ARMSTRONG born 1957, Temple 1991
Est: $60,000 - $80,000
BRUCE ARMSTRONG born 1957, Temple 1991 cypress, seamaster paint (acrylic marine grade paint) 210.0 cm height signed with initials and dated lower right: 91 BA Australian Art Resources, Melbourne Private collection, Melbourne, since 2003 Bruce Armstrong, Australian Art Resources, Melbourne, 26 October - 16 November 2003
Menzies
Feb. 09, 2017
BRUCE ARMSTRONG born 1957 Bunjil 2003
Est: $55,000 - $70,000
BRUCE ARMSTRONG born 1957 Bunjil 2003, cast and painted bronze and wood, 235.0 x 37.0 x 29.0 cm edition of 9 bronzes with unique wooden plinths stamped with Perrin Sculpture foundry mark lower right
Menzies
Dec. 01, 2015
BRUCE ARMSTRONG (born 1957) Wombat 1989 incised wood
Est: $1,000 - $1,500
BRUCE ARMSTRONG (born 1957) Wombat 1989 incised wood dated and initialled verso 12.5 x 7.5cm PROVENANCE: Powell Street Gallery, Melbourne 1992 Private collection, Melbourne EXHIBITIONS: Little Treasures, Powell Street Gallery, Melbourne, 1992
Leonard Joel
Sep. 10, 2015
Bruce Armstrong (1957 - ) - Standing Figure h. 60cm (134cm with plinth)
Est: $2,000 - $3,000
Bruce Armstrong (1957 - ) Standing Figure carved timber sculpture h. 60cm (134cm with plinth) unsigned
Lawsons
Sep. 23, 2014
BRUCE ARMSTRONG born 1957 Bunjil 2003
Est: $60,000 - $80,000
BRUCE ARMSTRONG born 1957 Bunjil 2003 cast and painted bronze and timber 235.0 x 37.0 x 29.0 cm Perrin Sculpture Foundry stamp lower right
Menzies