Cressida Campbell Sold at Auction Prices

Painter, Illustrator

Artist Cressida Campbell was born in Sydney, Australia in 1960, and has since become one of the country's most successful artists. While studying at what is now the National Art School, painter Cressida Campbell developed her idea to combine printing and painting, but she wouldn't fully embrace this technique until several years later. Her work plays with colors and shapes through the portrayal of domestic life and tranquil landscapes, and Cressida Campbell still life paintings for sale often incorporate plants, furniture, and everyday decor.

Artist Cressida Campbell's process involves engraving a woodblock, and then painting it with layers of watercolor, resulting in both an engraving and a mirror-image print. Her work emphasizes aesthetic value and exudes a level of intimacy in looking at subjects from the private sphere. Enjoy the detail and aesthetic beauty of other contemporary still life paintings available at auction and online.

Read Full Artist Biography

0 Lots

Sort By:

Nov. 25, 2023
CAMPBELL Cressida (b.1960), 'Pyrmont,' 1984., Watercolour on Incised Woodblock, 59.5x32cm (image) 78x50.5cm (overall)
Est: $50,000 - $70,000
CAMPBELL, Cressida (b.1960) 'Pyrmont,' 1984. Signed lower right. Watercolour on Incised Woodblock 59.5x32cm (image) 78x50.5cm (overall) PROVENANCE: Estate Late Prue Socha, Sydney. LITERATURE: 'The woodblock painting of Cressida Campbell', Peter Crayford ed. pub 2008, cat #W8511 (incorrectly dated to 1985), illus. p202 (detail)
Davidson Auctions
Nov. 22, 2023
CRESSIDA CAMPBELL, VASE, 1999
Est: $15,000 - $20,000
CRESSIDA CAMPBELL born 1960 VASE, 1999 watercolour on incised woodblock 19.0 x 20.5 cm signed lower left: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney Acquired from the above by the present owner in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July – 7 August 1999, cat. 32 LITERATURE Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. W9914, p. 352 © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 22, 2023
CRESSIDA CAMPBELL, PUMPKIN AND EGGPLANT, 1991
Est: $12,000 - $18,000
CRESSIDA CAMPBELL born 1960 PUMPKIN AND EGGPLANT, 1991 unique colour woodblock print 27.0 x 28.0 cm signed, dated and inscribed with title below image PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1991 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 9 April – 4 May, 1991, cat. 19 LITERATURE Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. W9108, pp. 27 (woodblock illustrated), 343 © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 22, 2023
CRESSIDA CAMPBELL, INTERIOR WITH RED GINGER, 1998
Est: $160,000 - $220,000
CRESSIDA CAMPBELL born 1960 INTERIOR WITH RED GINGER, 1998 unique colour woodblock print 119.0 x 84.5 cm signed lower right: Cressida Campbell signed below image lower right: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July – 7 August 1999, cat. 2 LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. P0306, pp. 231 (woodblock illustrated), 357 ESSAY Cressida Campbell, through decades of unwavering commitment to a unique, detailed, and labour intensive artistic medium, has recently risen to new heights of critical and public acclaim. Her recent survey exhibition at the National Gallery of Australia is said to have broken attendance records and further cemented her position as a household name. Working at the intersection of printmaking and painting, Campbell conjures mirrored pairs of serene images, their prosaic subject matter often concealing the artist’s considered orchestration. These works, painted and incised woodblocks and printed on paper, are testaments to Campbell’s sophisticated visual intelligence and humble appreciation for the small wonders in her immediate physical environs. At the turn of the 20th century German philosopher and cultural critic Walter Benjamin theorised the domestic interior as a refuge of the collector, ‘not just the universe but also the étui (ornamental case) of the private individual. To dwell means to leave traces’.1 This sun-drenched and softly mottled woodblock print, Interior with Red Ginger, 1998 displays an interior view of the airy seaside home of the artist’s friend Lynne Clarke (née Drysdale) in Newport. Campbell elaborated on the influence of this friendship in an audio recording for the National Gallery exhibition: ‘[she is] one of my oldest friends and she's been a huge influence to me in interiors and gardens and the way she places things. [...] She'll arrange plants amazingly, [an] incredible gardener. [..] I mean it's brilliant interior design really.’2 The arrangement of contrasting textural details; of tropical floral combs with shiny broad leaves, white linen couches strewn with soft blankets, worn blond floorboards and discarded camcorder in the foreground alludes to an insouciant holiday atmosphere, with the room perhaps only recently vacated by its bare-footed inhabitants. Compositionally daring, the artist’s domestic interiors present a feast for the eyes, demonstrating her broad engagement with her personal domestic realm, both at home and in temporary pied-à-terres. In a similar vein to the French intimist painters of the late 19th century, Campbell’s works often start with interstitial spaces (corridors, windows, alcoves) and from this entry point present a combination of several genres: still life in the foreground, moving into a deep view of a room, and finally culminating in a sliver of a landscape glimpsed through a window or open balcony door. Long before Campbell overtly described this process in the title of a work (Journey Around My Room, 2019), her interiors gently coaxed viewers to travel through time and space, living vicariously through the artist and her personal recollections, both known and imagined. It is clear that Campbell is a pure aesthete. Her works are sublime, carrying no socio-political impetus, nor aiming to surprise or shock viewers. She delights in the form and colour of everyday objects, translating and manipulating them into artworks that express the enduring appeal of quiet tranquillity. Although singled out in the title of this print as the key identifying feature of this interior, the spiky cylindrical clusters of the Ginger Lily are partly obscured in the left-hand side of the image. They are placed within a complex intersection of angular planes and panes of glass, between framed artworks on the wall and French doors opening presumably to a verandah out of view. While the dark timber balustrade anchors the composition in the left-hand corner, the whitewashed window frames of the bay windows in the upper right reveal a brilliant blue sky, with palm fronds and a second ginger blossom, connecting the interior with the world beyond. Here Campbell is at the height of her technical proficiency, delighting in the intellectual game of representing pictures in pictures, using a printing process that itself requires a mastery of reflected images. 1. Benjamin, W., The Work of Art in the Age of Technological Reproducibility and other Writings on Media, Harvard University Press, Cambridge, 2008, p. 104 2. The artist, 2022 at https://nga.gov.au/tours/cressida-campbell/stop/123/ (accessed September 2023) LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 22, 2023
CRESSIDA CAMPBELL, SPOTTED GUMS, 1999
Est: $140,000 - $180,000
CRESSIDA CAMPBELL born 1960 SPOTTED GUMS, 1999 watercolour on incised woodblock 75.0 x 49.5 cm signed lower left: Cressida Campbell signed verso: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) Acquired from the above by the present owner in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July – 7 August 1999, cat. 20 LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. W9904, 134-135 (illus. detail), 137 (illus.), 352 ESSAY Cressida Campbell’s incised and hand-painted woodblock, Spotted Gums, 1999 is softly and naturalistically immersive. It presents a familiar and awe-inspiring glimpse into one of Australia’s unique primeval landscapes and preserves its fragile integrity in chalky watercolour paint. Through a rhythmic alternation of dark and light mottled tree trunks Campbell endows this harmonious composition with a dynamic depth of field and an uplifting verticality. The late Nick Waterlow, esteemed Australian curator and art historian, wrote in an introduction to Cressida Campbell’s first solo exhibition in London in 2001 that her distinctive artworks had the capacity to ‘provide constant reminders of the unique wonders of nature in this ancient continent’ and constituted ‘a wonderfully refreshing antidote to all those forces that want to separate us from our surrounding environment.’1 Having lived all her life in pockets of Sydney between bush and the constructed urban environment, and with a predilection for utilising her immediate environs within each artwork, scrubby and chromatically muted scenes of the east-coast bush have been recurrent and steadfast subjects throughout Campbell’s career. Using Spotted Gums as her key image, Campbell chose to group a large number of these works together in her 2008 monograph under the unassuming title ‘Bush’, reuniting vast panoramas with intimate single flower studies, linked through their delicate and detailed evocation of native flora.2 Continuing an enduring tradition of picturing an untouched natural wilderness in Western art, Spotted Gums belongs to a suite of botanical works drawn from life in the endangered, sub-tropical bush around the Stella James House in Avalon, on Guringai country on Sydney’s Northern Beaches.3 The artist and her first husband, Peter Crayford, lived in this heritage-listed Walter Burley Griffin house over the summer of 1999 – 2000. Enclosed by tall stands of Pittwater Spotted Gums and angophora, the house overlooks thirty thousand square metres of open forest on the slopes below. This pristine vegetation was an enticing pictorial subject for Campbell, appearing in several woodblocks and prints between 1999 – 2000, often featuring a combination of Pittwater’s distinctive eucalypts, cycads, and Cabbage Palms. Framed in the lower corners by pinnated leaves of cycads and browning ferns, the airy composition of Spotted Gums is dominated by the strong vertical lines of the trunks of these gum trees, which tower way beyond the limits of our vision. In the foreground, a wide and mottled eucalypt trunk bisects the composition cleanly from top to bottom. It draws the viewer into Campbell’s view and directs the eye delicately throughout its dense bush, amongst the trunks, deep indigo shadows, and beyond, into the rising sea mist and pale open sky above the horizon line. While tall, Campbell’s view of this eucalypt forest is contained, a small fragment of the vast view that the artist had enjoyed from where she stood. The artist’s unusual and painstaking practice of painting her woodblocks with watercolour, using a technique similar to cloisonné, lends a chalky, mottled texture to both finished artworks (block and unique print). The inconsistencies and velvety textures left on the block’s surface after the printing process, provide a tactile evocation of the mottled bark and rough surfaces of its subject matter. The clean incised outlines of tree trunks and detailed clumps of leaves dissolve into the damp and shady depths of the forest, keeping a sense of mystery within its detailed naturalism. Campbell’s prints and blocks display a fragment of her reality, leaving clues to hint at what lies beyond the frame. With reverence, Campbell translates the ancient grandeur of Australia’s native flora, and in evoking its unique beauty, silently entreats the viewer for its continuing respect and preservation. 1. Waterlow, N., Cressida Campbell Recent Paintings, Nevill Keating Pictures, London, 2001 2. Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, pp. 132 – 191 3. NSW Landcare: https://landcare.nsw.gov.au/groups/stella-james-house-bushcare/ LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 21, 2023
§ CRESSIDA CAMPBELL born 1960 Wheat Fronds and Sky (2016) unique colour woodblock print 109 x 120 cm frame: original, Andrew Bassett, S
Est: $200,000 - $250,000
§ CRESSIDA CAMPBELL born 1960 Wheat Fronds and Sky (2016) unique colour woodblock print signed 'Cressida Campbell' lower right 109 x 120 cm frame: original, Andrew Bassett, Sydney (label verso) PROVENANCE Cressida Campbell, Sydney Contemporary Fine Arts, Berlin Private Collection, Melbourne, acquired from the above EXHIBITED Cressida Campbell and Tim Storrier: Difficult Pleasures, Contemporary Fine Arts, Berlin, 14 January - 4 March 2017 (label verso)
Smith & Singer
Nov. 20, 2023
Cressida Campbell (b. 1960) The Woodblock Painting of Cressida Campbell, 2008
Est: $600 - $800
book, open edition, edited by Peter Crayford, Public Pictures, Bronte, 2008, A/F
Shapiro Auctioneers
Nov. 15, 2023
CRESSIDA CAMPBELL (born 1960) Lilies 1984 woodblock, ed. 6/7 50 x 33cm
Est: $4,000 - $6,000
CRESSIDA CAMPBELL (born 1960) Lilies 1984 woodblock, ed. 6/7 signed and dated lower right: Cressida Campbell '84 titled lower centre editioned lower left 50 x 33cm PROVENANCE: Shapiro Auctioneers, Sydney, 21 July 2004, lot 209 Private collection, Queensland OTHER NOTES: © Cressida Campbell/Copyright Agency, 2023
Leonard Joel
Oct. 19, 2023
CRESSIDA CAMPBELL (1960 - ) - The Verandah, 1987 screenprint, ed. 73/99 58.5 x 94 cm (frame: 126 x 88 x 2 cm)
Est: $8,000 - $12,000
CRESSIDA CAMPBELL (1960 - ) The Verandah, 1987 screenprint, ed. 73/99 58.5 x 94 cm (frame: 126 x 88 x 2 cm) signed and dated lower right | Provenance: Private Collection, Adelaide.
Lawsons
Sep. 20, 2023
Cressida Campbell (b. 1960) Vegetable Garden, 1988
Est: $7,000 - $9,000
screenprint in 36 colours on paper, edition: 72/99, numbered, titled, signed and dated below image, 72/99, Vegetable Garden, Cressida Campbell 88
Shapiro Auctioneers
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Seeds 1995
Est: $2,500 - $3,500
CRESSIDA CAMPBELL born 1960 Seeds 1995 woodblock print 37.0 x 50.5 cm (image); 56.0 x 76.0 cm (sheet) edition: Artist's Proof (edition of 50) signed lower right: Cressida Campbell numbered lower left: A/P titled lower centre: "SEEDS" published by Marnling Press, Sydney (blindstamp lower right)
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Wedge-tailed Eagles 1978
Est: $9,000 - $12,000
CRESSIDA CAMPBELL born 1960 Wedge-tailed Eagles 1978 colour screenprint 41.5 x 48.5 cm (image); 54.0 x 58.5 cm (sheet) edition: 4/8 signed and dated lower right: Cressida Campbell '78 numbered lower left: 4/8
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Masks 1979
Est: $9,000 - $12,000
CRESSIDA CAMPBELL born 1960 Masks 1979 colour screenprint 45.5 x 72.5 cm (image); 63.5 x 91.5 cm (sheet) edition: 5/9 signed and dated lower right: Cressida Campbell '79 numbered lower left: 5/9
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Protea 1978
Est: $10,000 - $15,000
CRESSIDA CAMPBELL born 1960 Protea 1978 woodblock print 29.5 x 44.5 cm (image); 42.5 x 54.5 cm (sheet) edition: 2/4 signed and numbered lower right: Cressida Campbell 2/4 dated lower left: '78
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Bondi Baths 1984
Est: $18,000 - $25,000
CRESSIDA CAMPBELL born 1960 Bondi Baths 1984 woodblock print 52.5 x 53.5 cm (image); 70.0 x 68.5 cm (sheet) edition: 2/4 signed and dated lower right: Cressida Campbell '84 numbered lower left: 2/4 titled lower centre: 'BONDI BATHS'
Menzies
Aug. 25, 2023
Cressida Campbell
Est: $1,500 - $2,000
The Woodblock Painting of Cressida Campbell Edited by Peter Crayford. Published in Bronte (Sydney) by Public Pictures Pty Ltd in 2008. First edition. This is a mint copy in similar dustwrapper. The very rare and desirable first edition of the book about Australia's premier woman artist
Sydney Rare Book Auctions
Aug. 23, 2023
CRESSIDA CAMPBELL born 1960 The Bush (1986) watercolour on incised woodblock 50 x 22.5 cm
Est: $60,000 - $80,000
CRESSIDA CAMPBELL born 1960 The Bush (1986) watercolour on incised woodblock signed 'Cressida Campbell' lower left 50 x 22.5 cm PROVENANCE Cressida Campbell, Sydney Nevill Keating Pictures, London Private Collection, England, acquired from the above in 2001 EXHIBITED Cressida Cambell: Recent Paintings, Nevill Keating Pictures, London, 6-27 July 2001, no. 6, illustrated LITERATURE Peter Crayford (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. no. W8603, pp. 174 (illustrated), 348
Smith & Singer
Aug. 20, 2023
CAMPBELL Cressida (b.1960), 'The Bush,' 1988., S/Print 35/99, 50x22cm
Est: $2,000 - $3,000
CAMPBELL, Cressida (b.1960) 'The Bush,' 1988. S/Print 35/99 50x22cm
Davidson Auctions
May. 23, 2023
Cressida Campbell (b. 1960)
Est: $20,000 - $30,000
The Living Room Lamp, 1982 oil on paper, signed and dated l.l.c. 'Cressida Campbell, '82'
Shapiro Auctioneers
May. 03, 2023
CRESSIDA CAMPBELL, BRONTE INTERIOR, 2003
Est: $140,000 - $180,000
CRESSIDA CAMPBELL born 1960 BRONTE INTERIOR, 2003 unique colour woodblock print 95.0 x 60.0 cm signed lower left: Cressida Campbell also signed below image lower left: Cressida Campbell PROVENANCE Philip Bacon Galleries, Brisbane Private collection, Queensland Menzies, Sydney, 23 June 2016, lot 14 Private collection, Queensland EXHIBITED Cressida Campbell Still Life and Interiors, Nevill Keating Tollemache Ltd, London (in association with Philip Bacon Galleries, Brisbane), 3 – 18 July 2003, cat. 26 LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. P0306, p. 347 RELATED WORK Bronte Interior, 2003, watercolour on incised woodblock, 95.0 x 60.0 cm, private collection, illus. in Crayford, P. (ed.), ibid., pp. 224 – 225 ESSAY An accomplished artist working at the intersection of painting and printmaking, Cressida Campbell conjures beautiful unique images whose prosaic subject matter conceals their meticulous conception. These works, on paper and on painted woodblock, are testaments to her sophisticated visual intelligence and dedicated commitment to her art. Her humble appreciation for the small wonders around her delights collectors with the knowledge of shared experience. In this masterful woodblock print in soft warm tones, Bronte Interior, Campbell combines several subjects into the deep field of this view of her weatherboard house in Bronte: a still life of ripe pomegranates and delicate pink lisianthus in the foreground, blending into a serene and unoccupied interior, with a tiny sliver of dense bamboo landscape visible through a window frame. It is this oblique, obstructed and multilayered composition that provides Campbell’s interiors with such enduring appeal. With Japanese understanding of pictorial composition, Campbell’s interiors present a believable window into the artist’s rich private world. During her studies at East Sydney Technical College with Les Matkevich, Campbell discovered and developed a strong affinity with the medium of woodblock printing. But it was in 1980, at the Yoshida Hanga Academy in Tokyo, that she developed her adaptation a technique of monoprinting from hand painted woodblocks, called Yiban Duose (meaning ‘one block, many colour printing’), making it her dominant pictorial mode. Campbell, since the late 80s, has exhibited and sold each painted woodblock alongside its unique print, requiring her compositions to work both in positive and negative. Similar to cloisonné, the chalky watercolour impression on paper features delicate contours each coloured section, a white negative trace of the block’s incised furrows. In spite of her profound respect for observable reality, Campbell’s images are more than faithfully recorded snapshots. These images are constructed and rigorously edited into cropped panels, the intricacies of their design stiches together disparate viewpoints and includes titillating allusions to what lies beyond the frame. The influence of Japanese art in the aesthetic and technique of Campbell’s artworks is so profound that an entire chapter was devoted to the subject in the monograph accompanying the artist’s recent retrospective exhibition at the National Gallery of Australia. Asian works of art, prints, furniture, ceramics and textiles appear often in Campbell’s artworks, composing a large proportion of the artist’s personal collection and filling the shelves and walls. These objects were acquired from local dealers, during her travels with her first husband Peter Crayford, and through her sister Sally Campbell who collects and deals in Asian textiles. The artist also considers her collection of chairs to be a collection of sculptures, and places them in her compositions ‘because they make for great design’.1 The green chair recently vacated in the visual centre of Bronte Interior, although inanimate, stands in for a human presence, while the bursting vigour of life radiates from natural elements placed strategically in the corners of this composition. Long before Campbell overtly described this process in the title of a work ( Journey Around My Room, 2019), she created images which gently coax viewers to travel through time and space, living vicariously through the artist and her personal recollections, both known and imagined. To collect is to travel, and the artist displays clearly her love for the objects in her collection through her careful attention. She explained this impetus in 1997 ‘things that I love, if I have not made them into a picture, I feel I have not fully experienced them’.2 The long and illustrious history of the genre of Still Life has often been entangled with powerful moral lessons about the emptiness of worldly possessions, and memento mori – the fleeting nature of natural beauty and the transience of earthly life. If these classic codes of iconography inform our contemporary reading of Campbell’s work, this is unintentional. Memorialising opportunistic everyday details from her domestic environment and elevating them to the hallowed surfaces of her compositions, Campbell makes no comment on distinctions between fine art and decoration, simply addressing the things in which she derives an aesthetic pleasure and hoping that others will respond in turn to their seductive impact. 1. The artist in conversation with Rebecca Edwards, in Noordhuis-Fairfax, S., Cressida Campbell, National Gallery of Australia, Canberra, 2022, p. 48 2. The artist, cited in Wright, M., ‘Arts’, Australian Financial Review Magazine, Sydney, 26 September 1997, p. 112 LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Apr. 05, 2023
CRESSIDA CAMPBELL (born 1960) Gum Blossom 1986 woodblock, ed. A/P
Est: $7,000 - $10,000
CRESSIDA CAMPBELL (born 1960) Gum Blossom 1986 woodblock, ed. A/P signed and dated lower right: Cressida Campbell '86 titled lower centre editioned lower left 34 x 37.5cm PROVENANCE: Griffith University, Queensland 1986 Private collection, Queensland EXHIBITIONS: Cressida Campbell, Griffith University, Brisbane, 1986 (another impression) Cressida Campbell, Mori Gallery, Sydney 1987, cat. no. 4 (another impression) OTHER NOTES: "Cressida Campbell's woodblock print 'Gum Blossom', 1987, is a still life study of a blossoming native gum rendered in the distinctively Australian palette of green, white and gold. Intimate in scale and subject, Campbell's art reflects the everyday. It is the composition of the image that gives the work its' dynamism, or what the artist refers to as "the subtleties of design and pattern". While the Australian subject matter recalls the work of Margaret Preston, the process and stylised aesthetic suggest an appreciation of Japanese Ukiyo prints. Beginning with a design drawn onto a sheet of plywood, Campbell meticulously carves each line of the illustration with a fine engraving tool. She then uses delicate brushes to apply layers of watercolour to the individual segments, before printing the final paper impressions." (Annette Larkin Fine Art, Sydney)
Leonard Joel
Apr. 05, 2023
§ CRESSIDA CAMPBELL (born 1960) Seeds 1995 colour woodcut, ed. 10/50
Est: $2,500 - $3,500
§ CRESSIDA CAMPBELL (born 1960) Seeds 1995 colour woodcut, ed. 10/50 signed lower right: Cressida Campbell titled lower centre editioned lower left 36.5 x 50.5cm PROVENANCE: Davidson Auctions, Sydney, 04 December 2022, lot 28 Private collection, Melbourne
Leonard Joel
Apr. 04, 2023
Cressida Campbell (born 1960) Vegetable Garden, 1988
Est: $8,000 - $12,000
Cressida Campbell (born 1960) Vegetable Garden, 1988 numbered, titled, signed and dated below image: 'A.P. VEGETABLE GARDEN Cressida Campbell '88' screenprint in 36 colours edition: Artist's Proof 76.0 x 57.0cm (29 15/16 x 22 7/16in).
Bonhams
Apr. 04, 2023
Cressida Campbell (born 1960) The Bush, 1988
Est: $5,000 - $8,000
Cressida Campbell (born 1960) The Bush, 1988 numbered, titled, signed and dated below plate: 'A.P. THE BUSH Cressida Campbell '88' screenprint edition: Artist Proof 50.0 x 22.0cm (19 11/16 x 8 11/16in).
Bonhams