Jeffrey Smart Paintings & Artwork for Sale | Jeffrey Smart Art Value Price Guide

Sep. 09, 2026
JEFFREY SMART, Australia (1921 - 2013), The Surfers, Bondi, 1963, decorative print after original, 78 x 62 cm. (30.71 x 24.41 in.), frame: 92 x 76 x 3 cm. (36.21 x 29.92 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, (1921 - 2013) The Surfers, Bondi, 1963 decorative print after original
Lawsons
Sep. 07, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Ascent, 1998, archival pigment print, ed. 44/499 (unframed), 73 x 81.5 cm. (28.73 x 32.09 in.), sheet: 81.5 x 89.5 cm. (32.09 x 35.24 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Ascent, 1998 archival pigment print, ed. 44/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Aug. 30, 2026
JEFFREY SMART (1921-2013)
Est: $1,500 - $2,000
"Male Figure Study" Ink & Wash on Paper 29x15cm $1,500-2,000 Prov: Central Art Gallery NSW label verso
Elder Fine Art
Aug. 30, 2026
JEFFREY SMART (1921-2013)
Est: $6,000 - $8,000
"The Directors" 1977 Etching & Aquatint 12x75cm Plate Signed Lower Right Edition: 40/90 $6,000-8,000 Prov: Australian Galleries Sydney Prov: Private Collection Adelaide
Elder Fine Art
Aug. 30, 2026
JEFFREY SMART (1921-2013) "Mont Epomeo" 1950
Est: $10,000 - $15,000
JEFFREY SMART (1921-2013) "Mont Epomeo" 1950 Watercolour &Ink on Paper 31x47cm Signed, Titled, Dated '50 Lower Right $10,000 - $15,000 Prov: Private Collection Adelaide
Elder Fine Art
Aug. 26, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Bus Terminus, 1973, decorative print after original, 77 x 62 cm. (30.30 x 24.41 in.), frame: 88 x 73 x 3 cm. (34.64 x 28.73 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, Europe, (1921 - 2013) Bus Terminus, 1973 decorative print after original
Lawsons
Aug. 26, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Dome, 1977, archival pigment print, ed. 103/499 (unframed), 81.5 x 80.5 cm. (32.09 x 31.69 in.), sheet: 88.5 x 89.5 cm. (34.84 x 35.24 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Dome, 1977 archival pigment print, ed. 103/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Aug. 26, 2026
Jeffrey Smart, Adrian's view, 1980
Est: $100,000 - $140,000
Jeffrey Smart (1921 - 2013) Adrian's view, 1980 synthetic polymer paint on heavy Fabriano paper 45.5 x 46.0 cm signed lower right: JEFFREY SMART PROVENANCE Rudy Komon Art Gallery, Sydney Michael Gleeson-White AO, Sydney, acquired from the above in 1980 Estate of the above, Sydney EXHIBITED Jeffrey Smart, Rudy Komon Art Gallery, Sydney, 8 November – 3 December 1980, cat. 12 LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, South Yarra, 1983, cat. 755, p. 116 McDonald, J. Jeffrey Smart : Paintings of the ’70’s and ‘80s, Craftsman House, Roseville, 1990, no. 207, p. 159 We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his assistance with this catalogue entry. ESSAY As a devotee of the cinema, Jeffrey Smart would have been familiar with Alfred Hitchcock’s Rear Window (1954), in which James Stewart spends much of the film spying on people in the building next door. This is roughly the theme of Adrian’s view, 1980, which refers to a friend in Rome who found that his apartment window gave him a ringside seat for his neighbours’ sexual activities. Smart’s version avoids an ‘R’ rating, showing only an anonymous figure displaying his bare back by the window, but the sense of voyeurism remains intact. When someone is not aware that we are looking at them, there must always be a degree of objectification. The figure in the window is a back, a body, not a subject with whom we are exchanging eye contact. Whether Adrian’s neighbours were exhibitionists or simply careless, this is not Smart’s concern. He uses the view from a window for more general thoughts about visibility and communication. The prominently displayed antenna suggests that the figure in the window might well be watching TV, perfectly oblivious to whatever is going on outside. The dome in the background, which resembles a slightly simplified version of St. Peter’s Basilica, is largely concealed behind a flat, discoloured wall. As is so often the case with Smart’s paintings, the glorious legacy of the past is pushed aside by the banality of the present. It’s an open question as to whether he prefers it this way, finding an unlikely beauty in shabby walls, concrete bollards, traffic signs, highways and other commonplace features of modern life. The wall in Adrian’s view is beautifully rendered, its stains and patches taking on the nuances of an abstract painting. One thinks of Leonardo da Vinci’s famous advice to painters to pay close attention to the stains on walls, which may stimulate the mind to new discoveries and inventions. Smart gives the mind some assistance by imposing a geometric precision on his composition. To reduce the painting to the form of a diagram would reveal the classical measure of the Golden Ratio in the disposition of planes and shadows. No matter how prosaic the subject matter, Smart’s pictures are constructed with the finesse of a master craftsman. If there is also a slight feeling of déjà vu about the work, it’s because we’ve seen that truncated basilica before, in The dome, 1977 (Tarrawarra Museum Collection, Victoria), in which the building is mostly concealed by a field of grass. The patchy wall is another favourite motif, recurring in numerous paintings. Even the combination of wall, open window and telecommunications device is reprised in works such as Rooftops, 1968 – 69 and Spring Landscape, 1970 (National Gallery of Australia), or later, in Via Petrarca, Arezzo, 1984 – 85. Ultimately, Adrian’s view is a meditation on seeing and being seen. But a view is not just something that meets the eye; it’s also an opinion. Adrian may have his own ideas about why his neighbours seem to care so little about their privacy. Smart suggests, not without irony, that the wall we see from Adrian’s window, or the tip of the dome, may be no less interesting than whatever is going on inside the apartment. Playing the contrarian, he trades the sordid thrills of the voyeur for the high-minded pleasures of the aesthete. JOHN McDONALD Writer and editor of the site, ‘Everything the artworld doesn’t want you to know’, at Everythingthe.com © courtesy of The Estate of Jeffrey Smart 2026
Deutscher and Hackett
Aug. 26, 2026
Jeffrey Smart, Municipal car park, 1983
Est: $300,000 - $400,000
Jeffrey Smart (1921 - 2013) Municipal car park, 1983 synthetic polymer paint and oil on fibreglass canvas on composition board 36.0 x 120.0 cm signed lower right: Jeffrey Smart bears inscription verso: 8 PROVENANCE Rex Irwin Art Dealer, Sydney Michael Gleeson-White AO, Sydney, acquired from the above in 1984 Company collection, Sydney, acquired from the above in 2000 EXHIBITED Jeffrey Smart: Recent Paintings, Rex Irwin Art Dealer, Sydney, 6 – 24 November 1984, cat. 8 LITERATURE McDonald, J., Jeffrey Smart - Paintings of the ’70’s and ‘80s, Craftsman House, Sydney, 1990, no. 266, p. 160 We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his assistance with this catalogue entry. ESSAY Car parks are the ubiquitous non-places of our age. We might use one almost every day but never feel inclined to linger. They are strictly utilitarian spaces that few owners ever attempt to beautify – mostly bare concrete with the odd directional sign stencilled on walls and floors. The largest car park never seems to require more than one attendant, while some have none at all. They are grimy environments, reeking of spilled oil and exhaust fumes. One marvels at the pleasure Jeffrey Smart took from painting these inhospitable spaces, which make regular appearances in his work. I was driving with him near Naples one day when he pulled over to take a photo and make a quick sketch of a car park that had caught his eye. This was the way Smart found many of his motifs, although they might be completely transformed in the way he chose to paint them. Smart loved the challenge of taking a scene most of us would barely notice and imbuing it with a near-theatrical character. Municipal car park, 1983 with its deadpan, descriptive title, is a textbook example – a bare interior in which everything seems to be made of concrete, from the gridded ceiling to the yellow-tinted cashier’s booth in which a lonely worker is dozing, her head propped up on one hand. A splash of bright colour is provided by a yellow arrow, a red sign signifying ‘no entrance’, and bands of blue stripes intended to catch drivers’ attention. Neither can one ignore the lime green door to the men’s toilets, left ajar. The bulk of the picture is as grey and dark as a cave, which is pretty much what it is – an urban cave for sleeping automobiles. But we should remember that a cave is a magical place. Whether we think of the cave in which Odysseus and his men encounter the Cyclops, the underground caverns in Jules Verne’s Journey to the Centre of the Earth, or the grotto in which Tom Sawyer finds hidden loot, to venture into a cave is to step into a realm of mystery. Can we say as much about Smart’s car park? The artist almost dares us to find anything attractive in this barren setting. Even by the standards of Smart’s other car parks, this one is forbiddingly minimal. A painting such as Morning Jogger in Parking Garage, Adelaide, 1987, seems baroque in comparison. Aside from glimpses of sky and city, it features a figure who looks directly at the viewer, drawing us imaginatively into the picture. It’s the antithesis of the sleeping cashier in Municipal car park. Smart made complex paintings of car parks in Florence and Pisa, and numerous other examples in which the settings have not been identified. One of the gloomiest is The Underground Car Park, 1993, which has no human presence whatsoever, the only pictorial drama deriving from a red van viewed against the far wall. One smiles, however, at the tubs of greenery placed at the base of the concrete pillars, as if this dismal bunker might be enlivened by the addition of a few nondescript plants. As always with Smart, the geometric complexity of the composition makes Municipal car park more than a humdrum slice of life. Intensely aware that a successful painting requires a visual lure, not simply a clever idea, Smart has used a series of vertical planes to create a pictorial rhythm. From left to right, a dark, shadowy rectangle of wall gives way to a bright rectangle that reflects an exterior light. Traversing another area of shadow, we pick up the light as it strikes the two pillars facing the entrance. We finish with another squarish wall, illuminated by a fainter light, before concluding with an equivalent area of darkness. The sequence is very much like a piece of music in which sombre chords and tones are interrupted by sudden highlights that gradually return to the original key. Given Smart’s lifelong love of music, this is not a far-fetched analogy. He understood that in art, as in music, it’s possible to generate an emotional response by the skilful manipulation of formal elements. This is what we find in Municipal car park. An empty stage upon which nothing is happening creates a trap for the eye and mind, making us feel this space has its own cache of secrets. We might look for a key in the barely visible vehicles at the extreme right, the partially open door of the toilets, or the cashier’s phone, which may ring at any moment. Smart knew that the longer we look at anything, the more interesting it becomes, as we are prompted to contribute our own stories. The role of the artist is to create a structure that encourages us to slow down and investigate those endless possibilities that lie dormant in every detail. JOHN McDONALD Writer and editor of the site, ‘Everything the artworld doesn’t want you to know’, at Everythingthe.com © courtesy of The Estate of Jeffrey Smart 2026
Deutscher and Hackett
Aug. 26, 2026
Jeffrey Smart, Bar, Skyros, 1964
Est: $120,000 - $160,000
Jeffrey Smart (1921 - 2013) Bar, Skyros, 1964 oil on composition board 25.0 x 31.0 cm signed and dated lower right: JEFFREY SMART 64 PROVENANCE Galleria 88, Rome Private collection Macquarie Galleries, Sydney Private collection Art Galleries Shubert, Queensland (label attached verso, as 'Bar Tables Skyros') Private collection, California, acquired from the above Private collection, Melbourne, acquired from the above in December 2000 EXHIBITED Jeffrey Smart, Galleria 88, Rome, 8 – 23 April 1965, cat. 18 Exhibition of Paintings, Jeffrey Smart, Macquarie Galleries, Sydney, 29 September – 11 October 1965, cat. 17 LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. 417, p. 108 We are grateful to Stephen Rogers, Archivist for Jeffrey Smart, for his assistance with this catalogue entry. ESSAY After having assiduously saved for many years, in 1964 the young Jeffrey Smart left Australia for Europe, arriving in London in February, alongside his friend and fellow painter, Justin O’Brien. Each delighting in the artistic history of the continent, they visited museums and galleries in London and Paris before purchasing a Simca touring car to make the 6000km journey to Greece for the spring and summer.1 Although Smart made drawings and took photographs of promising subjects in the capital, he quickly became disenchanted with the crowds and heat of Athens, seeking instead ‘a summer retreat… somewhere unspoilt.’2 Recommendations led the artists to Skyros, a remote island in the Sporades archipelago, where, joined by the artist Brian Dunlop, they stayed in a rustic fisherman’s cottage by the sea for a period of four months. In June of 1964, the Sydney Morning Herald published a missive from the artists in their ‘Hello, Hello’ tabloid segment, relating that Skyros was ‘absolutely biblical, very primitive. A very beautiful place with a town crazily placed on a high jagged rock.’3 While this sojourn on Skyros (the first of many) provided for Justin O’Brien a wealth of landscape and figurative subjects, Jeffrey Smart produced only a few paintings of Greek subjects over the summer, most of which related to Athens – Piraeus I and Piraeus II; House outside Athens; and Outskirts, Athens, all dated 1964. With a quiet stillness and compositional serenity, Bar, Skyros, 1964 is a rare painting within Jeffrey Smart’s oeuvre, directly relating to their time on the idyllic island. Tightly cropped, the view presented by Smart focuses on a chess-like arrangement of three empty bar tables set in shallow space, against a whitewashed wall displaying truncated Greek lettering (eta, theta, and omega) and a heavy wooden door. This orchestration of inanimate objects with no one in sight, is painted by Smart in a fresco-like pattern of flat colour, almost entirely devoid of shadows. The graphic arrangement of foldable table-legs animates the pictorial surface and highlights Smart’s asymmetric composition. With the artist’s crisp outlines and a muted palette ranging from dark brown to cream and white, Bar, Skyros captures the bleaching light of a Greek summer, and the prosaic sophistication of outdoor dining. The tables, however, are empty, stand-ins for absent people. They are devoid of chairs, an assortment of which was painted in contemporaneous paintings Piraeus I and Piraeus II. A green apple provides a focal point and startling shock of colour in an otherwise harmonious chromatic palette. A master of stillness, Smart’s painting of Skyros portrays the ancient stasis of the island, so distinct from the cacophony of burgeoning modernity that he was to find some months later in Rome. John McDonald noted ‘Smart invites us to look at a functional object as though we were connoisseurs assessing its sculptural qualities.’4 In this respect Smart was indebted to the pittura metafisica of Giorgio Morandi, an artist he admired as one of the greatest of modern artists. In Bar, Skyros, in particular, Smart, like Morandi, presents a mysterious sense of temporal suspension and intimate unhurried contemplation, displaying clusters of everyday objects in few colours, lined up into a simple and serene still life. 1. Pearce, B. and Wilson, N., Justin O’Brien: The Sacred Music of Colour, Art Gallery of New South Wales, Sydney, 2010, p. 166 2. Jeffrey Smart, cited in Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005, p. 143 3. ‘Hello Hello’, Sydney Morning Herald, Sydney, 21 June 1964, p. 121 4. McDonald, J., Jeffrey Smart Paintings of the ‘70s and ‘80s, Craftsman House, Sydney, 1990, p. 48 LUCIE REEVES-SMITH © courtesy of The Estate of Jeffrey Smart 2026
Deutscher and Hackett
Aug. 25, 2026
JEFFREY SMART 1921-2013 Study for Arezzo Panorama (2002) oil on canvas signed ‘JEFFREY SMART’ lower left 33 x 128 cm frame: original, G
Est: $400,000 - $600,000
JEFFREY SMART 1921-2013 Study for Arezzo Panorama (2002) oil on canvas signed ‘JEFFREY SMART' lower left 33 x 128 cm frame: original, Graham Reynolds, Brisbane PROVENANCE Jeffrey Smart, Tuscany Australian Galleries, Sydney (label verso) Savill Galleries, Melbourne and Sydney (label verso), acquired from the above Private Collection, Melbourne, acquired from the above EXHIBITED Jeffrey Smart: Paintings and Studies 2002-2003, Australian Galleries, Sydney, 23 September – 18 October 2003, no. 2, illustrated LITERATURE Sasha Grishin, Jeffrey Smart: Paintings and Studies 2002-2003, Australian Galleries, Melbourne and Sydney, 2003, pp. 5 (illustrated), 11, 51
Smith & Singer
Aug. 25, 2026
JEFFREY SMART 1921-2013 Ball Game 1954 oil on composition board signed and dated ‘JEFFREY SMART 54’ lower right; signed and inscribed “
Est: $200,000 - $300,000
JEFFREY SMART 1921-2013 Ball Game 1954 oil on composition board signed and dated ‘JEFFREY SMART 54' lower right; signed and inscribed "BALL "GAME" Jeffrey Smart 35 gns' verso (on frame) 69 x 92 cm frame: original, maker unknown, Sydney PROVENANCE Jeffrey Smart, Sydney William Thompson, Sydney, acquired from the above in November 1955 Australian and International Paintings, including Contemporary Australian Art, Christie's Australia, Melbourne, 1 May 2000, lot 129, illustrated Private Collection, Victoria, acquired from the above Important Australian Art, Smith & Singer (trading as Sotheby's Australia), Sydney, 20 November 2018, lot 20, illustrated Lee Johnstone and Brian Johnstone, Melbourne, acquired from the above EXHIBITED Autumn Exhibition, Contemporary Art Society, David Jones' Art Gallery, April – May 1954, no. 125, 35 gns LITERATURE Peter Quartermaine, Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. no. 315, p. 106, ‘1957' Geoffrey Smith, The Lee & Brian Johnstone Collection 1965-2019, Smith & Singer, Melbourne, 2020, pp. 142, 143 (illustrated)
Smith & Singer
Aug. 12, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Bus Terminus, 1973, decorative print after original, 77 x 62 cm. (30.30 x 24.41 in.), frame: 88 x 73 x 3 cm. (34.64 x 28.73 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, Europe, (1921 - 2013) Bus Terminus, 1973 decorative print after original
Lawsons
Aug. 12, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Dome, 1977, archival pigment print, ed. 103/499 (unframed), 81.5 x 80.5 cm. (32.09 x 31.69 in.), sheet: 88.5 x 89.5 cm. (34.84 x 35.24 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Dome, 1977 archival pigment print, ed. 103/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Aug. 10, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Playground Mondragone, 1998, archival pigment print, ed. 33/499 (unframed), 62 x 89 cm. (24.41 x 35.03 in.), sheet: 69.5 x 97 cm. (27.35 x 38.18 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) Playground Mondragone, 1998 archival pigment print, ed. 33/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Aug. 10, 2026
JEFFREY SMART, Australia (1921 - 2013), Jacob Descending, 1979, Jacob Descending, ed. 26/499 (unframed/cellophane wrapped with corflute backing), 98 x 55.5 cm; sheet:105 x 66.5 cm
Est: $1,000 - $1,500
JEFFREY SMART Australia, (1921 - 2013) Jacob Descending, 1979 Jacob Descending, ed. 26/499 (unframed/cellophane wrapped with corflute backing) digital signature to margin lower right Digital Art Directory Studio blindstamp to margin lower right Jeffrey Smart Archive blindstamp to margin lower left Digital Art Directory Fine Art Reproductions blindstamp lower left with Certificate of Authenticity affixed verso
Lawsons
Jul. 29, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Surfers, Bondi, 1963, decorative print, 78 x 62 cm. (30.71 x 24.41 in.), frame: 92 x 75 x 2 cm. (36.21 x 29.53 x 0.79 in.)
Est: $400 - $600
JEFFREY SMART Australia, Europe, (1921 - 2013) The Surfers, Bondi, 1963 decorative print
Lawsons
Jul. 29, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Ascent, 1998, archival pigment print, ed. 44/499 (unframed), 73 x 81.5 cm. (28.73 x 32.09 in.), sheet: 81.5 x 89.5 cm. (32.09 x 35.24 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Ascent, 1998 archival pigment print, ed. 44/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Jul. 29, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Reflected Arrows, 1974, archival pigment print, ed. 62/499 (unframed), 67 x 79 cm. (26.37 x 31.10 in.), sheet: 75 x 87 cm. (29.53 x 34 1/4 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) Reflected Arrows, 1974 archival pigment print, ed. 62/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
Jul. 22, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Dome, 1977, archival pigment print, ed. 103/499 (unframed), 81.5 x 80.5 cm. (32.09 x 31.69 in.), sheet: 88.5 x 89.5 cm. (34.84 x 35.24 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Dome, 1977 archival pigment print, ed. 103/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Jul. 13, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Conversation, Lungotevere Flaminia, 1984, archival pigment print, ed. 36/499 (unframed), 97.5 x 48.5 cm. (38.39 x 19.08 in.), sheet: 104.5 x 55 cm. (41.14 x 21.64 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Conversation, Lungotevere Flaminia, 1984 archival pigment print, ed. 36/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Jul. 09, 2026
Jeffrey Smart: retrospective (AGNSW Publishing) together with Jeffrey Smart (Gryphon Publishing)
Est: $50 - $60
Jeffrey Smart: retrospective (AGNSW Publishing) together with Jeffrey Smart (Gryphon Publishing)
Lawsons
Jul. 09, 2026
Jeffrey Smart: Unpublished Painting 1940 - 2007, signed first edition (Australian Galleries Publishing)
Est: $80 - $120
Jeffrey Smart: Unpublished Painting 1940 - 2007, signed first edition (Australian Galleries Publishing)
Lawsons
Jul. 08, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Bus Terminus, 1973, decorative print, 77 x 62 cm. (30.30 x 24.41 in.), frame: 92 x 75 x 2 cm. (36.21 x 29.53 x 0.79 in.)
Est: $300 - $500
JEFFREY SMART Australia, Europe, (1921 - 2013) Bus Terminus, 1973 decorative print
Lawsons
Jul. 07, 2026
JEFFREY SMART, The Guiding Spheres II (Homage to Cézanne)
Est: $500 - $700
JEFFREY SMART The Guiding Spheres II (Homage to Cézanne) archival pigment print facsimile signature and editioned on margin: Jeffrey Smart / 167/999 numbered verso: #3313 68 x 81.5cm PROVENANCE Digital Art Directory (certificate of authenticity accompanies this lot)
Gibson's
Jul. 07, 2026
JEFFREY SMART, The Guiding Spheres II (Homage to Cezanne)
Est: $400 - $600
JEFFREY SMART The Guiding Spheres II (Homage to Cezanne) archival pigment print facsimile signature and editioned on margin: Jeffrey Smart / A/P numbered verso: #201088 47.5 x 56.5cm PROVENANCE Digital Art Directory (certificate of authenticity accompanies this lot)
Gibson's
Jul. 01, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Bicycle Race III, 1967, archival pigment print, ed. 30/499 (unframed), 66.5 x 100.5 cm. (26.17 x 39.57 in.), sheet: 74.5 x 108.5 cm. (29.32 x 42.71 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Bicycle Race III, 1967 archival pigment print, ed. 30/499 (unframed) facsimile signature lower right Digital Art Directory blindstamp lower left Digital Art Directory Certificate of Authenticity attached verso
Lawsons
Jul. 01, 2026
Jeffrey Smart, Painted Factory, Tuscany.
Est: $1,500 - $2,000
Jeffrey Smart, Painted Factory, Tuscany. Digital archival print, edition 4/499, facsimile signature lower right. Note: Accompanied with certificate of authenticity. 81 x 81 cm.
E J Ainger
Jun. 29, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Reflected Arrows, 1974, archival pigment print, ed. 62/499 (unframed), 67 x 79 cm. (26.37 x 31.10 in.), sheet: 75 x 87 cm. (29.53 x 34 1/4 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) Reflected Arrows, 1974 archival pigment print, ed. 62/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
Jun. 24, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Bus Terminus, 1973, decorative print, 77 x 62 cm. (30.30 x 24.41 in.), frame: 92 x 75 x 2 cm. (36.21 x 29.53 x 0.79 in.)
Est: $300 - $500
JEFFREY SMART Australia, Europe, (1921 - 2013) Bus Terminus, 1973 decorative print
Lawsons
Jun. 17, 2026
JEFFREY SMART, Australia (1921 - 2013), The Surfers, Bondi, 1963, decorative print after original, 78 x 62 cm. (30.71 x 24.41 in.), frame: 92 x 76 x 3 cm. (36.21 x 29.92 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, (1921 - 2013) The Surfers, Bondi, 1963 decorative print after original
Lawsons
Jun. 17, 2026
JEFFREY SMART, Australia (1921 - 2013), Truck & Trailer Approaching A City, 1973, archival pigment print, ed. 65/499 (unframed), 48.5 x 96 cm. (19.08 x 37.79 in.), sheet: 56.5 x 104.5 cm. (22.23 x 41.14 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, (1921 - 2013) Truck & Trailer Approaching A City, 1973 archival pigment print, ed. 65/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
Jun. 10, 2026
⊕ JEFFREY SMART (AUSTRALIAN 1921-2013)
Est: £600 - £800
⊕ JEFFREY SMART (AUSTRALIAN 1921-2013) THE DIRECTORS (1977) signed Jeffrey Smart lower right and numbered 88/90 lower left aquatint on paper 12 x 75cm; 4 3/4 x 29 1/2in 39.5 x 120cm; 15 1/2 x 47 1/4in (sheet) 50 x 130; 19 3/4 x 51 1/4in (framed) Property from a Private Collection, Surrey Provenance Lady Madeleine Robinson, London (purchased from the artist in the 1990s) Thence by descent to the present owner, daughter of the above see note to lot 30
Olympia Auctions
Jun. 10, 2026
⊕ JEFFREY SMART (AUSTRALIAN 1921-2013)
Est: £4,000 - £6,000
⊕ JEFFREY SMART (AUSTRALIAN 1921-2013) JOHN STOREY'S HOUSE signed and dated '44 lower right oil on canvas laid down on board 38 x 48cm; 15 x 18 3/4in 49.5 x 59.5cm; 19 1/2 x 23 1/2in (framed) Seven Works by Australian Artists from a Private Collection, Surrey (lots 30-36) Provenance Dr Julian Storey, Adelaide, Australia, a gift from the artist (Storey, 1919-1952, was a doctor in Adelaide and became friends with Smart when the artist was at art school. The present work is of Storey's first home in Woodville, North Adelaide which he purchased in the early 1940s) Thence by descent to the present owner, daughter of the above Literature Quartermaine, Peter Jeffrey Smart Gryphon Books South Yarra, 1983 p.104 No.218 Smart was predominantly interested in landscape, and especially focused on the urban environment, fascinated by the anonymity of houses, shops, factories, airports, highways and road signs. Although his compositions were based on reality, over the years the mood of his paintings became increasingly enigmatic. He introduced figures that shared the same sense of detachment as their surroundings, the resultant canvases often bordering on the surreal. One of a number of Australian artists who turned to the city for inspiration, Smart was influenced by such painter pioneers as Hans Heysen (1877-1968) and Horace Trenerry (1899-1958) who had explored the vast open spaces of the continent before him. He was also a keen reader of the poetry of T.S. Eliot (1888-1965) whose incantations of streets and buildings can be felt in the visual disengagement of Smart's city imagery, whilst the sense of emptiness in Smart's compositions bears comparison with the work of Eliot's contemporary, the American painter Edward Hopper (1882-1967). The present early work by Smart already shows his interest in geometry and precisely composed landscapes in bright colours. He commented 'My only concern is putting the right shapes in the right colours in the right places. It is always geometry'. Smart studied at the South Australian School of Art in Adelaide from 1937-1941 and at La Grande Chaumière in Paris from 1948-1949 where he was taught by Fernand Léger. He returned to Australia in 1951 and worked as art critic for The Daily Telegraph in Sydney but in 1963 he travelled once more to Europe, where he settled in Italy.
Olympia Auctions
Jun. 10, 2026
JEFFREY SMART, Australia (1921 - 2013), Autobahn in the Black Forest II, decorative print after original (published by Art Gallery of NSW), 83 x 53 cm. (32.67 x 20.87 in.), frame: 104 x 74 x 3 cm. (40.93 x 29.12 x 1.17 i
Est: $200 - $300
JEFFREY SMART Australia, (1921 - 2013) Autobahn in the Black Forest II decorative print after original (published by Art Gallery of NSW)
Lawsons
Jun. 10, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Bus Terminus, 1973, decorative print after original, 77 x 62 cm. (30.30 x 24.41 in.), frame: 88 x 73 x 3 cm. (34.64 x 28.73 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, Europe, (1921 - 2013) Bus Terminus, 1973 decorative print after original
Lawsons
Jun. 03, 2026
JEFFREY SMART, Australia (1921 - 2013), Truck & Trailer Approaching A City, 1973, archival pigment print, ed. 65/499 (unframed), 48.5 x 96 cm. (19.08 x 37.79 in.), sheet: 56.5 x 104.5 cm. (22.23 x 41.14 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, (1921 - 2013) Truck & Trailer Approaching A City, 1973 archival pigment print, ed. 65/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
May. 31, 2026
FRANK JEFFREY EDSON SMART (1921 - 2013), Container Train In Landscape, archival pigment print on high quality paper, digitally signed and numbered 10/499; blind embossed with the Artist's studio logo; certificate of authenticity, 35 x 180cm, 46 x
Est: $2,500 - $3,500
FRANK JEFFREY EDSON SMART (1921 - 2013), Container Train In Landscape, archival pigment print on high quality paper, digitally signed and numbered 10/499; blind embossed with the Artist's studio logo; certificate of authenticity, 35 x 180cm, 46 x 200cm overall.
Leski Auctions Pty Ltd
May. 27, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Bus Terminus, 1973, decorative print, 77 x 62 cm. (30.30 x 24.41 in.), frame: 88 x 73 x 3 cm. (34.64 x 28.73 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, Europe, (1921 - 2013) Bus Terminus, 1973 decorative print
Lawsons
May. 27, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Morning At Savona, 1976, archival pigment print, ed. 13/499 (unframed), 89 x 74.5 cm. (35.03 x 29.32 in.), sheet: 99 x 83.5 cm. (38.97 x 32.86 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) Morning At Savona, 1976 archival pigment print, ed. 13/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
May. 20, 2026
JEFFREY SMART, Australia (1921 - 2013), The Surfers, Bondi, 1963, decorative print (after original), 78.5 x 61.5 cm. (30.91 x 24.21 in.), frame: 89 x 73 x 3 cm. (35.03 x 28.73 x 1.17 in.)
Est: $300 - $500
JEFFREY SMART Australia, (1921 - 2013) The Surfers, Bondi, 1963 decorative print (after original)
Lawsons
May. 20, 2026
JEFFREY SMART, Australia (1921 - 2013), Truck & Trailer Approaching A City, 1973, archival pigment print, ed. 65/499 (unframed), 48.5 x 96 cm. (19.08 x 37.79 in.), sheet: 56.5 x 104.5 cm. (22.23 x 41.14 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, (1921 - 2013) Truck & Trailer Approaching A City, 1973 archival pigment print, ed. 65/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
May. 13, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Cahill Expressway, 1962, archival pigment print, ed. 94/499 (unframed), 62.5 x 84 cm. (24.60 x 33.07 in.), sheet: 70 x 92 cm. (27.55 x 36.21 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) Cahill Expressway, 1962 archival pigment print, ed. 94/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
May. 07, 2026
JEFFREY SMART (1921-2013), The Directors 1977
Est: $6,000 - $8,000
PROPERTY FROM THE ESTATE OF DR JOAN CROLL AO, SYDNEY JEFFREY SMART (1921-2013) The Directors 1977 etching and aquatint 12.0 x 75.0 cm (image); 51.5 x 125.0 cm (framed) edition: 74/90 signed lower right: Jeffrey Smart. numbered lower left: 74/90
Menzies
May. 07, 2026
JEFFREY SMART (1921-2013), Outside the Ministry 1970
Est: $400,000 - $600,000
PROPERTY FROM THE ESTATE OF RODNEY MENZIES, MELBOURNE JEFFREY SMART (1921-2013) Outside the Ministry 1970 oil on canvas 80.0 x 90.0 cm; 88.0 x 98.0 cm (framed) signed lower right: JEFFREY SMART
Menzies
May. 07, 2026
JEFFREY SMART (1921-2013), Four Seats, Venice Biennale 1983
Est: $150,000 - $250,000
PROPERTY FROM THE ESTATE OF A PRIVATE COLLECTION, MELBOURNE JEFFREY SMART (1921-2013) Four Seats, Venice Biennale 1983 synthetic polymer paint on fibreglass canvas 71.0 x 46.5 cm; 88.5 x 64.0 cm (framed) signed lower right: Jeffrey Smart
Menzies
May. 06, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), Morning At Savona, 1976, archival pigment print, ed. 13/499 (unframed), 89 x 74.5 cm. (35.03 x 29.32 in.), sheet: 99 x 83.5 cm. (38.97 x 32.86 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) Morning At Savona, 1976 archival pigment print, ed. 13/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons
May. 04, 2026
JEFFREY SMART, Australia, Europe (1921 - 2013), The Melbourne Gate, 2002, archival pigment print, ed. 44/499 (unframed), 67.5 x 94.5 cm. (26.57 x 37.20 in.), sheet: 75 x 103 cm. (29.53 x 40.54 in.)
Est: $1,000 - $2,000
JEFFREY SMART Australia, Europe, (1921 - 2013) The Melbourne Gate, 2002 archival pigment print, ed. 44/499 (unframed) signed in print lower right: Jeffrey Smart blindstamp lower left Fine Art Reproductions Certificate of Authenticity attached verso
Lawsons