Arthur Boyd Sold at Auction Prices

Painter, Sculptor, b. 1920 - d. 1999

Arthur Boyd's artist profile includes work in a variety of media, but he is best known as one of Australia’s leading 20th-century painters. Born in Melbourne, Boyd was the third generation of a prolific family of artists that ultimately came to include his three children. At the age of 14, he left school to focus on painting. Arthur Boyd's paintings responded to influences including the Vietnam War and poverty in the Outback. As an artist, Arthur Boyd was particularly interested in landscapes, often painting scenes of the Shoalhaven River, which was near his home and studio.

Other Arthur Boyd artwork includes lithographs, book illustrations, and sculptures. He was also the subject of a 1986 documentary, Figures in the Landscape: Arthur Boyd. You can find collectible landscape paintings for sale at Invaluable when on the search for your next piece of artwork.

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  • ARTHUR BOYD, SHOALHAVEN BATHERS,
    Sep. 10, 2026

    ARTHUR BOYD, SHOALHAVEN BATHERS,

    Est: $500 - $700

    ARTHUR BOYD, SHOALHAVEN BATHERS, ETCHING AND AQUATINT ED. 28/100, SIGNED LOWER RIGHT, EDITIONED LOWER LEFT, 54 X 74CM (SHEET), FRAME SIZE: 78 X 98CM

    Leonard Joel
  • ARTHUR BOYD, NUDE WASHING IN A CREEK,
    Sep. 10, 2026

    ARTHUR BOYD, NUDE WASHING IN A CREEK,

    Est: $700 - $900

    ARTHUR BOYD, NUDE WASHING IN A CREEK, COLOURED ETCHING ED. A/P, SIGNED, TITLED AND EDITIONED BELOW PLATE, 39 X 49CM, FRAME SIZE: 77 X 86.5CM

    Leonard Joel
  • ARTHUR BOYD, Australia, Britain (1920 - 1999), Tomorrow's Ghosts, 1971, portfolio sleeve of (12) original etchings with (14) poem sheets (unframed/each), 29.5 x 25 cm. (each/approx.), sheet: 59 x 40 cm. (each.)
    Sep. 09, 2026

    ARTHUR BOYD, Australia, Britain (1920 - 1999), Tomorrow's Ghosts, 1971, portfolio sleeve of (12) original etchings with (14) poem sheets (unframed/each), 29.5 x 25 cm. (each/approx.), sheet: 59 x 40 cm. (each.)

    Est: $1,500 - $2,500

    ARTHUR BOYD Australia, Britain, (1920 - 1999) Tomorrow's Ghosts, 1971 portfolio sleeve of (12) original etchings with (14) poem sheets (unframed/each) signed lower right (each) published by Circle Press, Guildford, London, Sep 1971

    Lawsons
  • ARTHUR BOYD (1920-1999) Wet Bush with Rain Clouds 1975 oil on panel 24 x 18.5cm (38 x 33cm framed)
    Sep. 08, 2026

    ARTHUR BOYD (1920-1999) Wet Bush with Rain Clouds 1975 oil on panel 24 x 18.5cm (38 x 33cm framed)

    Est: $12,000 - $18,000

    ARTHUR BOYD (1920-1999) Wet Bush with Rain Clouds 1975 oil on panel signed lower right: Arthur Boyd 24 x 18.5cm (38 x 33cm framed) PROVENANCE: Private collection, Sydney LITERATURE: McGrath, S, The Artist and the River: Arthur Boyd and the Shoalhaven, Bay Books, 1982 OTHER NOTES: "I painted this in the hills behind Riversdale: It had been raining. I was just trying to get the pinkness of the trunks of the trees. It was the first time in the Shoalhaven that I painted a sky that wasn't pure blue. It's about wetness and the scraggy bush." Arthur Boyd quoted in McGrath, S, The Artist and the River: Arthur Boyd and the Shoalhaven, Bay Books, 1982 © Arthur Boyd/Copyright Agency, 2026

    Leonard Joel
  • ARTHUR BOYD, Australian (1920 - 1999), Berwick Landscape with Ploughman, screenprint, ed. 73/100, 50 x 71 cm. (19.67 x 27.94 in.), Frame: 71 x 94 x 2 cm. (27.94 x 37.00 x 0.79 in.)
    Sep. 02, 2026

    ARTHUR BOYD, Australian (1920 - 1999), Berwick Landscape with Ploughman, screenprint, ed. 73/100, 50 x 71 cm. (19.67 x 27.94 in.), Frame: 71 x 94 x 2 cm. (27.94 x 37.00 x 0.79 in.)

    Est: $500 - $700

    ARTHUR BOYD Australian, (1920 - 1999) Berwick Landscape with Ploughman screenprint, ed. 73/100 editioned lower left, signed lower right

    Lawsons
  • ARTHUR BOYD (1920-1999)
    Aug. 30, 2026

    ARTHUR BOYD (1920-1999)

    Est: $6,000 - $8,000

    "Nebuchadnezzar in the Wilderness" c1968 Oil on Canvas 19x24cm Signed Lower Right $6,000-8,000 Prov: Private Collection Adelaide

    Elder Fine Art
  • ARTHUR BOYD (1920-1999), Figure by a Round Pool (Narcissus) 1976
    Aug. 27, 2026

    ARTHUR BOYD (1920-1999), Figure by a Round Pool (Narcissus) 1976

    Est: $90,000 - $120,000

    PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE ARTHUR BOYD (1920-1999) Figure by a Round Pool (Narcissus) 1976 oil on canvas 152.0 x 121.5 cm; 156.0 x 125.5 cm (framed) signed lower right: Arthur Boyd PROVENANCE Fischer Fine Art, London Private collection, Europe Sotheby's, Melbourne, 7 May 2001, lot 12 (as Figure by a Round Pond) Private collection, Melbourne EXHIBITED Recent Paintings (Narcissus), Fischer Fine Art, London, February - March 1977, cat.3 (illus. exhibition catalogue)

    Menzies
  • ARTHUR BOYD (1920-1999), Windmill, Wimmera Landscape c1987
    Aug. 27, 2026

    ARTHUR BOYD (1920-1999), Windmill, Wimmera Landscape c1987

    Est: $80,000 - $120,000

    PROPERTY FROM A PRIVATE COLLECTION, UNITED STATES OF AMERICA ARTHUR BOYD (1920-1999) Windmill, Wimmera Landscape c1987 oil and resin on board 92.0 x 122.0 cm; 109.0 x 139.5 cm (framed) signed lower right: Arthur Boyd PROVENANCE Wagner Art Gallery, Sydney, 1989 (label attached verso) Private collection, United States of America EXHIBITED (probably) Arthur Boyd: Recent Paintings, Australian Consulate General, Los Angeles; Australian High Commission, Singapore, in association with Wagner Art Gallery, Sydney, 1987 (probably) Arthur Boyd: A Collection of Important Paintings, Wagner Art Gallery, Sydney, 22 September - 11 October 1987

    Menzies
  • ARTHUR BOYD, NUDE WASHING IN A CREEK,
    Aug. 27, 2026

    ARTHUR BOYD, NUDE WASHING IN A CREEK,

    Est: $800 - $1,200

    ARTHUR BOYD, NUDE WASHING IN A CREEK, COLOURED ETCHING ED. A/P, SIGNED, TITLED AND EDITIONED BELOW PLATE, 39 X 49CM, FRAME SIZE: 77 X 86.5CM

    Leonard Joel
  • Arthur Boyd, Wimmera, c.1980
    Aug. 26, 2026

    Arthur Boyd, Wimmera, c.1980

    Est: $180,000 - $240,000

    Arthur Boyd (1920 - 1999) Wimmera, c.1980 oil on canvas 122.0 x 152.5 cm signed lower right: Arthur Boyd PROVENANCE Holdsworth Galleries, Sydney, acquired directly from the artist Private collection, Sydney, acquired from above Private collection, Sydney, a gift from the above in 2006 Estate of the above, Sydney ESSAY An untiring and extremely skilful painter of landscapes, Arthur Boyd is undoubtedly among Australia’s most revered artists with his highly personalised images of his homeland now iconic within the national consciousness. Among the more revelatory and widely acclaimed of his achievements, the extended sequence of luminous, sun-parched landscapes inspired by his travels to the Wimmera region in north-west Victoria are particularly celebrated. As Janet McKenzie elaborates, ‘…[in these paintings] Boyd created an archetypal Australian landscape. Possessing both a poetic lyricism and a down to earth quality and capturing the glorious light, these works… [offer] a sense of acceptance that many country-dwelling Australians could identify with.’1 Boyd first encountered the Wimmera region during the summer of 1948 – 49 when he accompanied the poet Jack Stevenson on a number of expeditions to Horsham in north-west Victoria. With its flat, semi-arid paddocks and endless horizons, the wheat-farming district presented Boyd with such a stark contrast to the verdant, undulating hills of Berwick and Harkaway (where he had recently undertaken an expansive mural series of Brughelesque idylls at his uncle’s property, The Grange) that he found himself required to develop a new visual vocabulary in order to capture this desolate landscape. Although the Wimmera could not be described as ‘uninhabitable’, it was for Boyd, his first glimpse of the vastness of Australia’s interior. As Barry Pearce notes, ‘…He discovered there a hint of something that had drawn other painters of his generation, a subject tentatively recorded by a few artists of the nineteenth century and touched on by even fewer of the twentieth: the empty spaces of the great interior. Of course, the Wimmera was wheat country and not by any means forbidding, nor forsaken. But in hot dry weather it could have, over sparse, unbroken horizons, a searing expanse of sky that elicited an acute sense of the infinite…’2 When initially unveiled at the David Jones Gallery in 1950, the Wimmera landscapes were greeted with universal acclaim – no doubt, as more than one author has observed, ‘because their sun-parched colours were so reminiscent of the Heidelberg school.’3 Significantly the paintings resonated not only amongst the public, but also with institutions such as the National Gallery of Victoria which purchased arguably the most famous work from the series, Irrigation Lake, Wimmera, 1950, and the Art Gallery of New South Wales who acquired Midday, Wimmera, 1948 – 49 – thereby representing the first works by Boyd to enter a major public collection. Imbued with the spirit of the land, these works represented for many their first encounter with these ‘more intimate aspects of the Australian landscape’4 and thus, not only established Boyd’s reputation as ‘an interpreter of the rural Australian environment’5, but moreover, launched his career on the international stage, with Boyd subsequently awarded the honour of representing Australia at the Venice Biennale in 1958.   So profound was the impact of the stark simplicity and shimmering light of the Wimmera upon Boyd’s psyche that he would subsequently revisit the subject on several occasions over the following decades – whether painting at his property ‘Riversdale’ on the Shoalhaven river in southern New South Wales, or abroad while residing in London and Italy. A later iteration completed most likely in the early eighties, Wimmera, c.1980, is one such ‘re-imagining’ – encapsulating the complexity of Boyd’s vision which is invariably an amalgam of visual observation, artistic experience and emotional response. Offering a sophisticated reappraisal of the theme in its absolute sparseness, economy of detail and restrained palette, the image is one of intimacy and warmth – a poignant homage to the artist’s beloved homeland, created at the height of his painterly powers. Here there is no angst, no challenge, no dramatic dialogue between man and nature as may be found elsewhere in Boyd’s oeuvre; to the contrary, the work exudes a mood of stillness and calm acceptance, as Franz Philipp astutely observes of such Wimmera paintings ‘…the phrase ‘landscapes of love’ comes to mind.’6 1. McKenzie, J., Arthur Boyd: art and life, Thames and Hudson, London, 1967, p. 62 2. Pearce, B., Arthur Boyd Retrospective, The Art Gallery of New South Wales and The Beagle Press, Sydney, 1993, p. 20 3. Campbell, R., ‘Arthur Boyd (1920 – )’, Australia: Paintings by Arthur Streeton and Arthur Boyd, XXIX Biennale, Venice, 1958, n. p. 4. Pearce, op. cit. 5. Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 67 6. ibid., p. 64 VERONICA ANGELATOS © Arthur Boyd/Copyright Agency 2026

    Deutscher and Hackett
  • Arthur Boyd, Bush pond, 1958 – 59
    Aug. 26, 2026

    Arthur Boyd, Bush pond, 1958 – 59

    Est: $40,000 - $60,000

    Arthur Boyd (1920 - 1999) Bush pond, 1958 – 59 oil on composition board 41.0 x 53.0 cm signed lower right: Arthur Boyd  bears inscription verso: BUSH POND / ARTIST / ARTHUR BOYD  PROVENANCE Moreton Galleries, Brisbane (label attached verso, as ‘The Bush Pond’) Michael Gleeson-White AO, Sydney  Company collection, Sydney, acquired from the above in 2000 EXHIBITED Art from the Collections of the Trustees of the Art Gallery of New South Wales, Blaxland Gallery, Sydney, 14 – 29 October 1981, cat. 4 Arthur Boyd retrospective, Art Gallery of New South Wales, Sydney, 15 December 1993 – 6 March 1994, and touring to: National Gallery of Victoria, Melbourne, 30 March – 23 May 1994; Tasmanian Museum and Art Gallery, Hobart, 9 June – 21 August 1994 and Art Gallery of Western Australia, Perth, 22 September – 20 November 1994, cat. 82 (label attached verso) LITERATURE Pearce, B., Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 1993, cat. 82, pp. 96 (illus.), 200 RELATED WORK Old waterwheel, 1959, oil on hardboard, 83.4 x 106.0 cm (sight), Art Gallery of Western Australia, Perth  Spring landscape, 1959, oil on board, 25.3 x 35.4 cm, The University of Melbourne Art Collection, Melbourne  ESSAY The noted author Marcus Clarke famously described the Australian bush in 1867 as being infused with a ‘weird melancholy’, one filled with ‘the hieroglyphs of haggard gum-trees, blown into odd shapes, distorted [and] cramped with cold nights.’1 Painted nearly one century later, Arthur Boyd’s Bush pond, 1958 – 59, captures Clarke’s vivid description with an intensity that verges on the gothic. The landscape was one of Boyd’s earliest subjects, embodied in his paintings of the Mornington Peninsula executed in the late 1930s whilst the young artist was living with his widowed grandfather at Rosebud. In the 1940s, his human dramas were firmly anchored by their own landscapes of the city and its semi-rural suburbia, but between 1950 and 1952, Boyd stunned audiences with Wimmera landscapes filled with piercing light and space. On the strength of such works, he was chosen to represent Australia alongside the deceased Arthur Streeton at the XXIX Biennale in Venice which opened on 14 June 1958. The conservatively-minded selection committee, presided over by the Prime Minister Robert Menzies, had already chosen a suite of eight landscapes by Boyd comprising similar still and poetic scenes from around Bendigo and the Wimmera, but were likely ignorant of the fact that the artist was about to exhibit his confronting ‘Bride series’2 close to the public announcement of his inclusion at Venice. The ‘Brides’ follow a narrative wherein a tragic love triangle is played out by doomed indigenous characters set against expressionist visions of primordial forest, and their exhibition so excited local supporters that they urged the Committee to alter their choices. Not surprisingly, the Committee declined.   One painting the selectors included nonetheless gave a clear indication of the artist’s divergence, being Mount Terrible (near Gaffney’s Creek), 1956, where the bristling trees and bush possess a highly suggestive anxiety. Related paintings from Gaffney’s Creek are ‘typically confined, tangled, harsh in texture [where figures stand] against dark, rotting undergrowth, or stumble across creeks with thin white branches clawing out of the dark.’3 Bush pond, too, is informed by this approach, but instead of employing the setting for some human tragedy, Boyd shows a man quietly clearing leaves whilst two white goats eat nearby – all engaged in personal thoughts and actions. A kingfisher darts over the darkly coloured pond and even though the surrounding trees twist and turn with their own melancholic weirdness, the man and animals are comfortable within their surroundings. The paint is rich with impasto, and Boyd uses his brush to actively ‘describe rather than circumscribe’ the whole scene.4 The goat was one of Boyd’s complex array of symbolic characters and motifs, a collection which also included the allegorical Ramox – part ram, part ox, a beast filled with unbridled lust which had first appeared in the artist’s paintings from the 1940s. The goat has a similarly lewd meaning through history (think of Pan with his caprine legs), but it is apparent that Boyd has a different, less provocative intention here, for goats were already a common sight in the Australian bush, long-time feral since their arrival with the first colonists. Like the bushman, they have now adapted to be at home within the skeletal vegetation – an environment the artist came to consider as being symbolically pure, an antipodean Garden of Eden.   1. Clarke, M., ‘Preface’ in: Adam Lindsay Gordon, Sea Spray and Smoke, A.H. Messina and Co., Melbourne, 1867, pp. iv, v 2. The correct title of the series is: ‘Love, marriage and death of a half-caste.’ The term ‘Bride series’ was first coined by Franz Philipp in Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 83 3. Arthur Boyd Retrospective, supplement to Art and Australia, vol. 31, no. 2, 1993 4. Philipp, op. cit., p.82   ANDREW GAYNOR © Arthur Boyd/Copyright Agency 2026

    Deutscher and Hackett
  • ARTHUR BOYD 1920-1999 Nebuchadnezzar and a Hunter (1967) oil on canvas signed ‘Arthur Boyd’ lower right 108.5 x 114 cm
    Aug. 25, 2026

    ARTHUR BOYD 1920-1999 Nebuchadnezzar and a Hunter (1967) oil on canvas signed ‘Arthur Boyd’ lower right 108.5 x 114 cm

    Est: $50,000 - $70,000

    ARTHUR BOYD 1920-1999 Nebuchadnezzar and a Hunter (1967) oil on canvas signed ‘Arthur Boyd' lower right 108.5 x 114 cm PROVENANCE: Arthur Boyd, London Australian Galleries, Melbourne Private Collection, Melbourne, acquired from the above in 1968 Australian & European Paintings & Sculpture, Christie's Australia, Sydney, 3 October 1973, lot 530 Dennis Gowing, Melbourne, acquired from the above Australian & European Paintings & Sculpture, Christie's Australia, Sydney, 14 March 1974, lot 426 Private Collection, Melbourne EXHIBITIONS: Arthur Boyd, The Johnstone Gallery, Brisbane, 25 July – 9 August 1967, no. 51 Arthur Boyd, Bonython Art Gallery, Sydney, 8-24 April 1968, no. 45, ‘Nebuchadnezzar and Hunter' Boyd, Australian Galleries, Melbourne, 25 June – 5 July 1968, no. 45, ‘Nebuchadnezzar and Hunter'

    Smith & Singer
  • ARTHUR BOYD 1920-1999 Shoalhaven Landscape (1977) oil on canvas signed ‘Arthur Boyd’ lower right 91.5 x 99 cm
    Aug. 25, 2026

    ARTHUR BOYD 1920-1999 Shoalhaven Landscape (1977) oil on canvas signed ‘Arthur Boyd’ lower right 91.5 x 99 cm

    Est: $100,000 - $150,000

    ARTHUR BOYD 1920-1999 Shoalhaven Landscape (1977) oil on canvas signed ‘Arthur Boyd' lower right 91.5 x 99 cm PROVENANCE Arthur Boyd, New South Wales Private Collection, Sydney Fine Australian Paintings, Sotheby's Australia, Melbourne, 17 April 1989, lot 449, illustrated Joseph Brown Gallery, Melbourne (stock 11,194), acquired from the above Private Collection, Melbourne, acquired from the above on 16 January 1994 LITERATURE Airways, Qantas Magazine, Sydney, March – April 1979, pp. 3-8 (illustrated)

    Smith & Singer
  • ARTHUR BOYD 1920-1999 Waterhole Near Canberra (1971) oil on composition board signed 'Arthur Boyd' lower right 46 x 61 cm frame: orig
    Aug. 25, 2026

    ARTHUR BOYD 1920-1999 Waterhole Near Canberra (1971) oil on composition board signed 'Arthur Boyd' lower right 46 x 61 cm frame: orig

    Est: $40,000 - $60,000

    ARTHUR BOYD 1920-1999 Waterhole Near Canberra (1971) oil on composition board signed 'Arthur Boyd' lower right 46 x 61 cm frame: original, maker unknown, Melbourne PROVENANCE Arthur Boyd, Canberra Andrew Ivanyi Galleries, Melbourne Private Collection, Melbourne, acquired from the above Private Collection, Melbourne, by descent from the above

    Smith & Singer
  • Arthur Boyd (1920-1999) Figure in coffin by the sea with ship, c.1965-70
    Aug. 24, 2026

    Arthur Boyd (1920-1999) Figure in coffin by the sea with ship, c.1965-70

    Est: $1,500 - $2,500

    Arthur Boyd (1920-1999) Figure in coffin by the sea with ship, c.1965-70 signed lower right: 'Arthur Boyd' ink on paper 61.5 x 50.0cm (24 3/16 x 19 11/16in).

    Bonhams
  • Arthur Boyd (1920-1999) Jonah and the Whale, c.1973
    Aug. 24, 2026

    Arthur Boyd (1920-1999) Jonah and the Whale, c.1973

    Est: $12,000 - $18,000

    Arthur Boyd (1920-1999) Jonah and the Whale, c.1973 signed lower right: 'Arthur Boyd' oil on board 28.5 x 56.0cm (11 1/4 x 22 1/16in).

    Bonhams
  • Arthur Boyd (1920-1999) Shoalhaven Riverbank with Black Swan and Cockatoo, c.1988
    Aug. 24, 2026

    Arthur Boyd (1920-1999) Shoalhaven Riverbank with Black Swan and Cockatoo, c.1988

    Est: $120,000 - $150,000

    Arthur Boyd (1920-1999) Shoalhaven Riverbank with Black Swan and Cockatoo, c.1988 signed lower right: 'Arthur Boyd' oil on canvas 153.0 x 122.0cm (60 1/4 x 48 1/16in).

    Bonhams
  • Arthur Boyd (1920-1999) Narre Warren, Victoria, 1952
    Aug. 24, 2026

    Arthur Boyd (1920-1999) Narre Warren, Victoria, 1952

    Est: $250,000 - $350,000

    Arthur Boyd (1920-1999) Narre Warren, Victoria, 1952 signed lower right: 'Arthur Boyd' oil, tempera and resin on composition board 77.5 x 102.5cm (30 1/2 x 40 3/8in).

    Bonhams
  • ARTHUR BOYD, THE LITTLE TRAIN,
    Aug. 20, 2026

    ARTHUR BOYD, THE LITTLE TRAIN,

    Est: $700 - $1,000

    ARTHUR BOYD, THE LITTLE TRAIN, LITHOGRAPH ED. 73/100, SIGNED AND EDITIONED BELOW IMAGE, 50 X 72, FRAME SIZE: 67.5 X 90CM

    Leonard Joel
  • ARTHUR BOYD, Australian (1920 - 1999), Berwick Landscape with Ploughman, screenprint, ed. 73/100, 50 x 71 cm. (19.67 x 27.94 in.), Frame: 71 x 94 x 2 cm. (27.94 x 37.00 x 0.79 in.)
    Aug. 19, 2026

    ARTHUR BOYD, Australian (1920 - 1999), Berwick Landscape with Ploughman, screenprint, ed. 73/100, 50 x 71 cm. (19.67 x 27.94 in.), Frame: 71 x 94 x 2 cm. (27.94 x 37.00 x 0.79 in.)

    Est: $600 - $800

    ARTHUR BOYD Australian, (1920 - 1999) Berwick Landscape with Ploughman screenprint, ed. 73/100 editioned lower left, signed lower right

    Lawsons
  • ARTHUR BOYD, Australia, Britain (1920 - 1999), Shoalhaven, oil on board, 29.5 x 21.5 cm. (11.60 x 8.46 in.), frame: 45 x 37 x 4 cm. (17.71 x 14.57 x 1.57 in.)
    Aug. 17, 2026

    ARTHUR BOYD, Australia, Britain (1920 - 1999), Shoalhaven, oil on board, 29.5 x 21.5 cm. (11.60 x 8.46 in.), frame: 45 x 37 x 4 cm. (17.71 x 14.57 x 1.57 in.)

    Est: $20,000 - $30,000

    ARTHUR BOYD Australia, Britain, (1920 - 1999) Shoalhaven oil on board signed lower right: Arthur Boyd with Dennis Baker Gallery label verso Wulf Breitsameter Gilder label verso

    Lawsons
  • Arthur Boyd (1920 - 99) Australia - (Figure dancing)
    Aug. 11, 2026

    Arthur Boyd (1920 - 99) Australia - (Figure dancing)

    Est: $400 - $600

    Arthur Boyd (1920 - 99) Australia - (Figure dancing) Coloured etching Ed 30/40 Signed edition in pencil lower margin

    Colville Auctions
  • Arthur Boyd (1920 - 99) Australia - Romeo and Juliet
    Aug. 11, 2026

    Arthur Boyd (1920 - 99) Australia - Romeo and Juliet

    Est: $400 - $600

    Arthur Boyd (1920 - 99) Australia - Romeo and Juliet Coloured etching Ed 36/50 Signed title edition in pencil lower margin

    Colville Auctions
  • ARTHUR MERRIC BLOOMFIELD BOYD - POET AND MUSE - ETCHING
    Aug. 09, 2026

    ARTHUR MERRIC BLOOMFIELD BOYD - POET AND MUSE - ETCHING

    Est: $450 - $550

    ARTHUR MERRIC BLOOMFIELD BOYD (1920-1999) POET AND MUSE Signed in margin Etching 25 x 20cm Estimate $450/550 AUD

    GFL Fine Art
  • ARTHUR BOYD, Australian (1920 - 1999), Berwick Landscape with Ploughman, screenprint, ed. 73/100, 50 x 71 cm. (19.67 x 27.94 in.), Frame: 71 x 94 x 2 cm. (27.94 x 37.00 x 0.79 in.)
    Aug. 05, 2026

    ARTHUR BOYD, Australian (1920 - 1999), Berwick Landscape with Ploughman, screenprint, ed. 73/100, 50 x 71 cm. (19.67 x 27.94 in.), Frame: 71 x 94 x 2 cm. (27.94 x 37.00 x 0.79 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australian, (1920 - 1999) Berwick Landscape with Ploughman screenprint, ed. 73/100 editioned lower left, signed lower right

    Lawsons
  • ARTHUR BOYD, THE LITTLE TRAIN,
    Jul. 30, 2026

    ARTHUR BOYD, THE LITTLE TRAIN,

    Est: $800 - $1,200

    ARTHUR BOYD, THE LITTLE TRAIN, LITHOGRAPH ED. 73/100, SIGNED AND EDITIONED BELOW IMAGE, 50 X 72, FRAME SIZE: 67.5 X 90CM

    Leonard Joel
  • BOYD Arthur Merric Bloomfield (1920-1999), 'Grey Riverbank and Clouds', Oil & Tempera on Board, 30x20cm
    Jul. 26, 2026

    BOYD Arthur Merric Bloomfield (1920-1999), 'Grey Riverbank and Clouds', Oil & Tempera on Board, 30x20cm

    Est: $10,000 - $15,000

    BOYD, Arthur Merric Bloomfield (1920-1999) 'Grey Riverbank and Clouds' Signed lower right. Title inscribed in pencil verso, with cat #15, also remnants of old label (Bundanon Galleries, 198-?) Oil & Tempera on Board 30x20cm PROVENANCE: Private collection, Sydney.

    Davidson Auctions
  • ARTHUR BOYD, Australia, Britain (1920 - 1999), Evening, Wimmera Landscape, etching, ed. 22/25, 24.5 x 33 cm. (9.65 x 12.99 in.), frame: 56 x 63 x 4 cm. (22.05 x 24.80 x 1.57 in.)
    Jul. 22, 2026

    ARTHUR BOYD, Australia, Britain (1920 - 1999), Evening, Wimmera Landscape, etching, ed. 22/25, 24.5 x 33 cm. (9.65 x 12.99 in.), frame: 56 x 63 x 4 cm. (22.05 x 24.80 x 1.57 in.)

    Est: $400 - $600

    ARTHUR BOYD Australia, Britain, (1920 - 1999) Evening, Wimmera Landscape etching, ed. 22/25 signed lower right: Arthur Boyd titled lower centre

    Lawsons
  • ARTHUR BOYD, Australia, Britain (1920 - 1999), Shoalhaven Landscape with Cockatoos, screenprint, ed. 31/95, 73 x 53.5 cm. (28.73 x 21.05 in.), frame: 104 x 83 x 3 cm. (40.93 x 32.67 x 1.17 in.)
    Jul. 22, 2026

    ARTHUR BOYD, Australia, Britain (1920 - 1999), Shoalhaven Landscape with Cockatoos, screenprint, ed. 31/95, 73 x 53.5 cm. (28.73 x 21.05 in.), frame: 104 x 83 x 3 cm. (40.93 x 32.67 x 1.17 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australia, Britain, (1920 - 1999) Shoalhaven Landscape with Cockatoos screenprint, ed. 31/95 signed lower right: Arthur Boyd

    Lawsons
  • Arthur Meric Bloomfield Boyd, (Australian, 1920-1999), Figure and beast in a landscape
    Jul. 21, 2026

    Arthur Meric Bloomfield Boyd, (Australian, 1920-1999), Figure and beast in a landscape

    Est: £10,000 - £15,000

    Arthur Meric Bloomfield Boyd (Australian, 1920-1999) Figure and beast in a landscape, circa 1960, signed lower right, oil on board, 50cm x 63cm Provenance: Purchased by the current owner's parents in the early 1960s from Melbourne-born interior designer Lex Aitken (1930-2013). Lex Aitken became one of London's most respected and discreet interior designers, admired for his refined aesthetic sensibility, deep knowledge of art and furniture, and exceptional eye for sourcing important works. Raised within a family connected to substantial property holdings in Victoria, he was expected to follow a more conventional path, yet from an early age his interests lay firmly in the arts. He studied Fine Art and History, excelling particularly in sculpture before leaving Australia for Europe in 1950, a journey that proved transformative both personally and professionally. During the voyage he shared a cabin with the New Zealand author and poet Lois Hunter, who became a lifelong friend and introduced him to an influential artistic circle that included Arthur Boyd, Brett Whiteley, Clement Meadmore and Michael Johnson, many of whom later sought his advice and companionship while in London. After arriving in England, Aitken quickly established himself within London society through his natural flair, scholarship and instinctive understanding of interiors, beginning his career with the decorator Charles Howard, who recognised his talent and sold him a half share in the business during the mid-1950s. In the early 1960s Aitken opened his own practice at 84 Pimlico Road, where he built an international reputation for interiors distinguished by elegance, connoisseurship and restraint. Although widely admired by clients and contemporaries including Lucian Freud, James Lees-Milne and Geoffrey Bennison, he remained steadfastly private throughout his career, invariably declining requests from publications wishing to feature his work, believing discretion and integrity to be essential qualities of his profession.

    Gorringes
  • ARTHUR BOYD, Australia (1920 - 1999), Florence is Port Melbourne, ink on paper, 70 x 55.5 cm. (27.55 x 21.85 in.), frame: 94 x 73 x 3 cm. (37.00 x 28.73 x 1.17 in.)
    Jul. 20, 2026

    ARTHUR BOYD, Australia (1920 - 1999), Florence is Port Melbourne, ink on paper, 70 x 55.5 cm. (27.55 x 21.85 in.), frame: 94 x 73 x 3 cm. (37.00 x 28.73 x 1.17 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australia, (1920 - 1999) Florence is Port Melbourne ink on paper signed and inscribed lower right: Arthur Boyd/ PORT MELBOURNE

    Lawsons
  • ARTHUR BOYD, Australia (1920 - 1999), Give me my brush of burning gold, ink on paper, 70 x 55.5 cm. (27.55 x 21.85 in.), frame: 94 x 73 x 3 cm. (37.00 x 28.73 x 1.17 in.)
    Jul. 20, 2026

    ARTHUR BOYD, Australia (1920 - 1999), Give me my brush of burning gold, ink on paper, 70 x 55.5 cm. (27.55 x 21.85 in.), frame: 94 x 73 x 3 cm. (37.00 x 28.73 x 1.17 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australia, (1920 - 1999) Give me my brush of burning gold ink on paper signed and inscribed lower right: Port Melbourne/ GIVE ME MY BRUSH OF BURNING GOLD/ Arthur Boyd

    Lawsons
  • ARTHUR BOYD, Australia (1920 - 1999), P46, ink on paper, 70 x 55.5 cm. (27.55 x 21.85 in.), frame: 94 x 73 x 3 cm. (37.00 x 28.73 x 1.17 in.)
    Jul. 20, 2026

    ARTHUR BOYD, Australia (1920 - 1999), P46, ink on paper, 70 x 55.5 cm. (27.55 x 21.85 in.), frame: 94 x 73 x 3 cm. (37.00 x 28.73 x 1.17 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australia, (1920 - 1999) P46 ink on paper signed and inscribed lower right: P46/ Arthur Boyd

    Lawsons
  • ARTHUR BOYD, REPUDIATION (FROM TOMORROW'S GHOSTS SUITE) 1971,
    Jul. 02, 2026

    ARTHUR BOYD, REPUDIATION (FROM TOMORROW'S GHOSTS SUITE) 1971,

    Est: $200 - $400

    ARTHUR BOYD, REPUDIATION (FROM TOMORROW'S GHOSTS SUITE) 1971, ETCHING ED. 25/100, SIGNED, DATED AND EDITIONED BELOW IMAGE, 30 X 25CM, FRAME SIZE: 62 X 52CM

    Leonard Joel
  • ARTHUR BOYD, COLOUR BLIND (FROM TOMORROW'S GHOSTS SUITE) 1971,
    Jul. 02, 2026

    ARTHUR BOYD, COLOUR BLIND (FROM TOMORROW'S GHOSTS SUITE) 1971,

    Est: $200 - $400

    ARTHUR BOYD, COLOUR BLIND (FROM TOMORROW'S GHOSTS SUITE) 1971, ETCHING ED. 25/100, SIGNED, DATED AND EDITIONED BELOW IMAGE, 30 X 25CM, FRAME SIZE: 62 X 52CM

    Leonard Joel
  • ARTHUR BOYD, LYSISTRATA ADDRESSING THE WOMAN 1970,
    Jul. 02, 2026

    ARTHUR BOYD, LYSISTRATA ADDRESSING THE WOMAN 1970,

    Est: $500 - $700

    ARTHUR BOYD, LYSISTRATA ADDRESSING THE WOMAN 1970, ETCHING ED. III/XII, SIGNED AND EDITIONED BELOW PLATE, 35 X 40CM, FRAME SIZE: 61 X 65CM

    Leonard Joel
  • ARTHUR BOYD, THE WOMAN TRIUMPHANT 1970,
    Jul. 02, 2026

    ARTHUR BOYD, THE WOMAN TRIUMPHANT 1970,

    Est: $500 - $700

    ARTHUR BOYD, THE WOMAN TRIUMPHANT 1970, ETCHING ED. III/XII, SIGNED AND EDITIONED BELOW PLATE, 35 X 40CM, FRAME SIZE: 61 X 65CM

    Leonard Joel
  • ARTHUR BOYD (1920-1999) Dromana oil on canvas on board 59 x 87cm
    Jun. 30, 2026

    ARTHUR BOYD (1920-1999) Dromana oil on canvas on board 59 x 87cm

    Est: $45,000 - $65,000

    ARTHUR BOYD (1920-1999) Dromana oil on canvas on board signed lower right: A Boyd titled on gallery label verso 59 x 87cm PROVENANCE: Private collection, Sydney Sotheby's, Melbourne, 19 August 1996, lot 257 Private collection, Sydney Savill Galleries, Sydney, acquired from the above (label verso) Private collection, Perth OTHER NOTES: © Arthur Boyd/Copyright Agency, 2026 -Viewing in Sydney-

    Leonard Joel
  • ARTHUR BOYD (1920-1999) (White Dog and Figure with Black Hair) pastel on paper 47 x 62cm
    Jun. 30, 2026

    ARTHUR BOYD (1920-1999) (White Dog and Figure with Black Hair) pastel on paper 47 x 62cm

    Est: $12,000 - $18,000

    ARTHUR BOYD (1920-1999) (White Dog and Figure with Black Hair) pastel on paper signed lower right: Arthur Boyd artist's name and title on gallery label verso 47 x 62cm PROVENANCE: Hamet Gallery, London (label verso) Brummels Gallery, Melbourne The Collection of Robin Ferry OAM, Melbourne Thence by descent OTHER NOTES: © Arthur Boyd/Copyright Agency, 2026

    Leonard Joel
  • ARTHUR BOYD (1920-1999) The Money Changers 1950-52 glazed ceramic tile mounted on board 40.5 x 42.5cm
    Jun. 30, 2026

    ARTHUR BOYD (1920-1999) The Money Changers 1950-52 glazed ceramic tile mounted on board 40.5 x 42.5cm

    Est: $20,000 - $30,000

    ARTHUR BOYD (1920-1999) The Money Changers 1950-52 glazed ceramic tile mounted on board signed lower centre: Arthur Boyd 40.5 x 42.5cm PROVENANCE: The Collection of Geoffrey Dutton, London, acquired directly from the artist c.1960 The Collection of Ninette Dutton (née Trott), New South Wales Private collection, New South Wales, acquired from the above prior to 2007 Deutscher and Hackett, Melbourne, 21 April 2021, lot 29 Private collection, Melbourne EXHIBITIONS: Ceramic Paintings by Arthur Boyd, Peter Bray Galleries, Melbourne, 26 August – 4 September, 1952, cat. no. 12 LITERATURE: Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 250, cat. no. 37 Dutton, G., Out in the Open: An Autobiography, University of Queensland, 1994, p. 215 OTHER NOTES: RELATED WORKS: Arthur Boyd, Driving out the Money Changers 1950, glazed ceramic tile, the collection of the National Gallery of Australia, Canberra Arthur Boyd, The Whale Putting Jonah in its Mouth 1950, glazed ceramic tile, the collection of the National Gallery of Victoria, Melbourne Arthur Boyd, The Tribute Money c.1949, glazed ceramic tile, in the collection of the Australian Catholic University © Arthur Boyd/Copyright Agency, 2026

    Leonard Joel
  • ARTHUR BOYD, Australia (1920 – 1999), Return of Prodigal Son, etching, ed. 22/45, 67 x 48 cm. (26.37 x 18.89 in.), Frame: 98 x 78 x 4 cm. (38.57 x 30.71 x 1.57 in.)
    Jun. 29, 2026

    ARTHUR BOYD, Australia (1920 – 1999), Return of Prodigal Son, etching, ed. 22/45, 67 x 48 cm. (26.37 x 18.89 in.), Frame: 98 x 78 x 4 cm. (38.57 x 30.71 x 1.57 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australia, (1920 – 1999) Return of Prodigal Son etching, ed. 22/45 signed lower right: Arthur Boyd editioned lower left

    Lawsons
  • ARTHUR BOYD, Australia (1920 – 1999), Lovers, etching, ed. 27/45, 67 x 48 cm. (26.37 x 18.89 in.), Frame: 98 x 78 x 4 cm. (38.57 x 30.71 x 1.57 in.)
    Jun. 29, 2026

    ARTHUR BOYD, Australia (1920 – 1999), Lovers, etching, ed. 27/45, 67 x 48 cm. (26.37 x 18.89 in.), Frame: 98 x 78 x 4 cm. (38.57 x 30.71 x 1.57 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australia, (1920 – 1999) Lovers etching, ed. 27/45 signed lower right: Arthur Boyd editioned lower left

    Lawsons
  • Arthur Merric Bloomfield Boyd 1920-1999.
    Jun. 24, 2026

    Arthur Merric Bloomfield Boyd 1920-1999.

    Est: $20,000 - $25,000

    'Broken Wind Pump & Bird, Wimmera Landscape.' Oil on board. Signed lower right, titled on verso. 56 x 38cm.

    McKenzies Auctioneers
  • ARTHUR BOYD, 'NARCISSUS DIVING', 1978, LITHOGRAPH
    Jun. 18, 2026

    ARTHUR BOYD, 'NARCISSUS DIVING', 1978, LITHOGRAPH

    Est: $300 - $500

    Arthur Boyd (Australian, 1920-1999). "Narcissus Diving" - 1978, lithograph, numbered 36 of 90, signed to LR. Framed. Approximate dimensions: sheet h. 31", w. 22"; frame h. 36", w. 27.5", d. 1.25".

    Ahlers & Ogletree Inc.
  • ARTHUR BOYD, (1920 - 1999), Shoalhaven River with Pelican, oil on board, 38.0 x 30.0 cm; 54 x 46.5 cm (framed)
    Jun. 17, 2026

    ARTHUR BOYD, (1920 - 1999), Shoalhaven River with Pelican, oil on board, 38.0 x 30.0 cm; 54 x 46.5 cm (framed)

    Est: $15,000 - $25,000

    ARTHUR BOYD (1920 - 1999) Shoalhaven River with Pelican oil on board signed lower right: Arthur Boyd

    Lawsons
  • ARTHUR BOYD, (1920 - 1999), Artist in a Cave and Shoes and Model's Leg, 1973, decorative print after original, 56 x 54 cm. (22.0 x 21.2 in.), frame: 96 x 81 x 2 cm. (37.8 x 31.8 x 0.7 in.)
    Jun. 10, 2026

    ARTHUR BOYD, (1920 - 1999), Artist in a Cave and Shoes and Model's Leg, 1973, decorative print after original, 56 x 54 cm. (22.0 x 21.2 in.), frame: 96 x 81 x 2 cm. (37.8 x 31.8 x 0.7 in.)

    Est: $250 - $350

    ARTHUR BOYD (1920 - 1999) Artist in a Cave and Shoes and Model's Leg, 1973 decorative print after original gallery frame

    Lawsons
  • Arthur Boyd, A Life (Hardback, First edition)
    Jun. 04, 2026

    Arthur Boyd, A Life (Hardback, First edition)

    Est: $30 - $60

    Arthur Boyd, A Life (Hardback, First edition)

    Lawsons
  • ARTHUR BOYD, (SHOALHAVEN WITH SWIMMER),
    Jun. 04, 2026

    ARTHUR BOYD, (SHOALHAVEN WITH SWIMMER),

    Est: $400 - $600

    ARTHUR BOYD, (SHOALHAVEN WITH SWIMMER), ETCHING ED.12/200, SIGNED AND EDITIONED BELOW PLATE, 65 X 52CM, FRAME SIZE: 106 X 88.5CM

    Leonard Joel
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