Albert Tucker Paintings & Artwork for Sale | Albert Tucker Art Value Price Guide

Aug. 25, 2026
ALBERT TUCKER 1914-1999 Lasseter (1978) gouache on board signed 'Tucker' lower right 36 x 48 cm
Est: $8,000 - $12,000
ALBERT TUCKER 1914-1999 Lasseter (1978) gouache on board signed 'Tucker' lower right 36 x 48 cm PROVENANCE Albert Tucker, Melbourne Australian Galleries, Melbourne David Newby, Sydney, acquired from the above in March 1986 The David Newby Collection of Australian Art, Smith & Singer (trading as Sotheby's Australia, Sydney, 13 May 2017, lot 25, illustrated David Aspinall, Perth, acquired from the above The Estate of the Late David Aspinall, Perth EXHIBITED The Die-Hard: Ivan and Jocelyn Smith: Images by Albert Tucker, Australian Galleries, Melbourne, 8-18 October 1979, uncatalogued
Smith & Singer
Aug. 25, 2026
ALBERT TUCKER 1914-1999 Parrots in Bush (1974) synthetic polymer paint on composition board signed ‘Tucker’ lower left 60.7 x 76 cm
Est: $35,000 - $45,000
ALBERT TUCKER 1914-1999 Parrots in Bush (1974) synthetic polymer paint on composition board signed ‘Tucker' lower left 60.7 x 76 cm PROVENANCE Albert Tucker, Melbourne Private Collection Paintings, Leonard Joel, Melbourne, 31 July 1990, lot 140, illustrated Joseph Brown Gallery, Melbourne, acquired from the above The Cbus Collection of Australian Art, Melbourne, acquired from the above on 2 August 1990 100 Highlights from the Cbus Collection of Australian Art, Deutscher and Hackett, Melbourne, 27 July 2022, lot 37, ‘c.1962', illustrated Private Collection, Brisbane, acquired from the above EXHIBITED Hinterlands: Albert Tucker's Landscapes 1960-1975, Heide Museum of Modern Art, Melbourne, 28 June 2008 – 22 February 2009, (no. 13), ‘c. 1973', illustrated LITERATURE Lesley Harding, Hinterlands: Albert Tucker's Landscapes 1960-1975, Heide Museum of Modern Art, Melbourne, 2008, pp. 11 (illustrated), 44 (illustrated) Bryony Nainby and Zara Stanhope (eds), The Cbus Collection of Australian Art: Advised by Dr Joseph Brown AO OBE, Cbus, Melbourne in association with Latrobe Regional Gallery, Morwell, 2009, pp. 102 (illustrated), 235
Smith & Singer
Jun. 28, 2026
ALBERT LEE TUCKER 1914-1999 [attr.] "GULLY" 1962 OIL ON BOARD, SIGNED LOWER RIGHT, 60X80CMS, FRAMED.
Est: -
ALBERT LEE TUCKER 1914-1999 [attr.] "Gully" 1962 oil on board, signed lower right, 60x80cms, framed. Copyright restricted so images on request. Please read the Terms & Conditions of Auction before placing a bid. These T&C's are applicable to each lot in this Auction. Any available provenance or documentation will be included with the description, if not included, assume it to be unknown or missing. Most lots are either ex estate or storage, have not been submitted for authentication, verification or expertising and for this reason, some are offered UNRESERVED. It is the responsibility of intending buyers to do their own research and due diligence before submitting an offer. We do not offer returns or refunds - ALL SALES ARE FINAL.
WA Art Auctions
May. 17, 2026
ALBERT TUCKER (1914-1999), Brolga and Trees 1963
Est: $8,000 - $12,000
ALBERT TUCKER (1914-1999) Brolga and Trees 1963 oil on board signed and dated lower right: Tucker 63 inscribed with title on label verso 24.5 x 37cm PROVENANCE Private collection, Western Australia Christies, Melbourne, Australian & International Paintings, 2 May 2002, Lot 153 Ron Coles Investment Gallery, NSW, c. 2004 (label verso) Private collection, Sydney Menzies, Sydney, Australian & International Fine Art and Sculpture, 31 March 2021, Lot 77 Private collection, Melbourne © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Gibson's
May. 07, 2026
ALBERT TUCKER (1914-1999), Image of Modern Evil 1972, cast 2000
Est: $20,000 - $30,000
PROPERTY FROM A PRIVATE COLLECTION, PERTH ALBERT TUCKER (1914-1999) Image of Modern Evil 1972, cast 2000 bronze on marble base 32.0 x 15.0 x 11.5 cm (including base) edition: 2/7 signed, dated and numbered to base of bronze: Tucker 2000 2/7
Menzies
May. 07, 2026
ALBERT TUCKER (1914-1999), Image of Modern Evil 1972
Est: $10,000 - $15,000
PROPERTY FROM A PRIVATE COLLECTION, PERTH ALBERT TUCKER (1914-1999) Image of Modern Evil 1972 charcoal and wash on paper 29.0 x 23.0 cm; 58.0 x 50.5 cm (framed) signed and dated lower right: Tucker 72
Menzies
Apr. 02, 2026
Albert Tucker by James Mollison and Nicholas Bonham
Est: $40 - $50
Albert Tucker by James Mollison and Nicholas Bonham
Lawsons
Mar. 24, 2026
Albert Tucker, Australian 1914-1999, Image of Modern Evil 1972, pastel and gouache on paper, 38.5 x 48.5 cm. (15.16 x 19.08 in.), Frame: 58 x 66 cm. (22.82 x 25.98 in.)
Est: $20,000 - $30,000
Albert Tucker Australian, 1914-1999 Image of Modern Evil 1972 pastel and gouache on paper signed and dated 'Tucker 72', lower left Gould Gallery label attached to verso
Artvisory
Feb. 24, 2026
ALBERT TUCKER, Australia (1914 - 1999), Brolga - 1966, oil on board, 45 x 60 (frame: 72 x 87) cm
Est: $20,000 - $22,000
ALBERT TUCKER Australia, (1914 - 1999) Brolga - 1966 oil on board signed and dated lower right
Lawsons
Jan. 15, 2026
ALBERT TUCKER (1914-1999) Emerging Gods 1971 synthetic polymer paint on canvas 65 x 75cm
Est: $50,000 - $70,000
ALBERT TUCKER (1914-1999) Emerging Gods 1971 synthetic polymer paint on canvas signed and dated lower left: Tucker 71 title inscribed on stretcher bar verso 65 x 75cm PROVENANCE: Albert Tucker, Melbourne Barbara Tucker, Melbourne Bonhams & Goodman, Melbourne Private collection, Sydney Private collection, Melbourne, acquired from the above Sotheby's Australia, Sydney, 24 November 2015, lot 37 Private collection, New South Wales Smith & Singer, Sydney, 16 November 2021, lot 16 Private collection, Melbourne EXHIBITIONS: Albert Tucker, Skinner Galleries, Perth, January 1972, cat. no. 22 Albert Tucker: The Lucky Country, Sotheby's Australia, Sydney, 11 - 23 March 2013, cat. no. 13 Albert Tucker: The Lucky Country, Sotheby's Australia, Melbourne, 3 - 16 April 2013, cat. no. 13 LITERATURE: Smith, G., Albert Tucker: The Lucky Country, Sotheby's Australia, Melbourne, 2013, pp. 32, 33 (illus.) OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
Dec. 03, 2025
ALBERT TUCKER (1914-1999) Gippsland Explorers 1963 lithograph, ed. 20/50 54 x 77cm (sheet, reveal); 72.5 x 94cm (frame)
Est: $2,000 - $3,000
ALBERT TUCKER (1914-1999) Gippsland Explorers 1963 lithograph, ed. 20/50 signed and dated lower right: Albert Tucker 63 titled and editioned lower left 54 x 77cm (sheet, reveal); 72.5 x 94cm (frame) PROVENANCE: National Gallery of Victoria, Melbourne Private collection, Melbourne LITERATURE: Butler, R., Printed Images by Australian Artists 1942-2020, National Gallery of Australia, Canberra, 2021, p. 176 (illus., another example) OTHER NOTES: Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Gippsland Art Gallery, Victoria and Hamilton Gallery, Victoria © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
Dec. 03, 2025
ALBERT TUCKER (1914-1999) In the Mirror: Self Portrait with Joy Hester 1939 silver gelatin print printed later 21 x 16cm (image, rev...
Est: $700 - $900
ALBERT TUCKER (1914-1999) In the Mirror: Self Portrait with Joy Hester 1939 silver gelatin print printed later artist's name, title and date on unknown label verso (concealed) 21 x 16cm (image, reveal); 34 x 30cm (frame) PROVENANCE: Private collection, Melbourne Thence by descent EXHIBITIONS: Albert Tucker Photographs: Artists and Their Milieu, Heide Museum of Modern Art, Victoria, 24 March - 9 September 2012 (another example) The Tucker Portraits, Wangaratta Art Gallery, Victoria, 28 October - 10 December 2023 (another example) OTHER NOTES: Other examples of this print are held in the collections of the National Portrait Gallery, Canberra; Museum of Australian Photography, Victoria; National Gallery of Australia, Canberra; and Heide Museum of Modern Art, Melbourne. © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
Nov. 26, 2025
Albert Tucker, Horned figure, 1966
Est: $80,000 - $120,000
Albert Tucker (1914 - 1999) Horned figure, 1966 synthetic polymer paint on composition board 91.0 x 122.0 cm signed and dated lower left: Tucker / 66 inscribed with title verso: HORNED FIGURE bears inscription on gallery label verso: HORNED FIGURE / ALBERT TUCKER PROVENANCE Australian Galleries, Melbourne (label attached verso) Private collection, Melbourne EXHIBITED Albert Tucker, Australian Galleries, Melbourne, 26 April – 13 May 1966, cat. 15 ESSAY Albert Tucker decided to explore distinctly Australian themes in his work while living in Italy (he had left Australia in 1947 and was to not return until 1960), where distance allowed a different perspective on the creative possibilities contained within inherited myths and traditions. Sharing a fascination with the story of Ned Kelly alongside his close friend Sidney Nolan, who had painted his first Kelly series in 1946 – 47, Tucker began his investigations of Australian iconography in the same place, creating versions of the Kelly story that pictured the bushranger as a dark, mysterious and isolated figure quite unlike the jaunty iron-clad hero of Nolan’s brightly coloured Ripolin paintings. As Tucker later recalled in an interview with Janet Hawley, he had once said to Nolan that ‘I was painting hell, and he was painting paradise… and I saw a very satisfied grin spread across Nolan’s face.’1 The subject of Kelly was a starting point for Tucker, resulting in a broader exploration of the hardship of life in the Australian bush and the relationship between man and the land. The craggy and scarified forms of Tucker’s images from this time – thick with paint and encrusted surfaces – were no doubt inspired in part by Nolan’s photographs of the 1962 Queensland drought, which he shared with Tucker when the pair reconnected in Rome where Tucker was based.2 However, the artist’s discovery in Paris of the work of Jean Dubuffet, and his meeting with Italian artist Alberto Burri while living in Rome, also played a considerable role in this important transition in his practice. Tucker soon adopted Burri’s use of polyvinyl acetate (which enabled Burri to build up the surfaces of his works), using its ‘flexible and leathery toughness’3 to great effect in his subsequent Antipodean Heads, and, as these works coalesced into bushrangers, explorers and other creatures, for the remainer of his career. As he recalled: ‘I’d been away long enough to be suffering acute bouts of nostalgia and I was getting all these memory images of Australia – and oddly enough not so much specific imagery, but in images of texture and colour and light and all that kind of thing that’s very Australian, very rough textures.’4 Following the influence of artists such as Picasso, Tucker had a lifelong interest in non-Western art and he began collecting sculptures and masks in Melbourne in the 1940s, later travelling to New Guinea to experience the Sepik River region firsthand and further expand his collection. Like the early French modernists, ‘primitive’ art served as a liberating force in Tucker’s practice, helping to free him from the inherited constraints of the Western tradition and open his practice to the power and possibilities of myth. The potent combination of Surrealism, the poetry of T.S. Eliot and contemporary discussion of Jung’s archetypes, served as a platform for discovery and experimentation in his work from as early as the 1940s and the creation of his now iconic series Images of Modern Evil, 1943 – 48. From the grinning faces of the women in a painting such as Victory girls, 1943 (National Gallery of Australia) and the triangular gaping mouth of the figure in Memory of Leonski, 1943 (National Gallery of Victoria), the mouth motif thus transformed into the shape of a crescent, serving as a kind of visual shorthand for the artist: ‘In a way, that crescent thing became a kind of key; it was a hieroglyphic thing. I reached the point in around 1943 that, if I painted and I did not have that crescent, then I could not work. I would have to tear it down, throw it away, nothing would happen. But the moment I got that crescent image in, the thing would fill itself in. It was like automatic writing. Once I had that key form, the rest of the thing would fill itself in rapidly and immediately with whatever data was in my head at the time from wandering around Melbourne.’5 While maintaining an echo of Tucker’s crescent form, Horned figure, 1966 seemingly takes its cue from the mythological horned figures that populate ancient sculpture and the memory of a double-headed axe that the artist had seen in the Etruscan Museum in Rome.6 With its feathery visage and cleaved mouth, statuesque body and claw-like torso, the creature of Horned figure is a menacing and primordial amalgam of recognisable parts. And, like its creator’s contested relationship to his homeland, it appears at once part of the landscape it finds itself in, and strangely isolated from it. As Tucker reflected in later life: ‘…But I do feel that whatever the struggles and conflicts and difficulties of my own life and I did work out the resolution of a lot of them through images and painting and I'd hope this [his paintings] plots a sort of an autobiographical diagram almost, a diagrammatical account of my life because I think it can be traced through all that now. And so... I feel that I have left a few footprints shall I say…’7 1. Hawley, J., ‘Making Pictorial Sense of Modern Evil’, Good Weekend, 18 February 1995, p. 40, cited in Burke, J., Australian Gothic: A Life of Albert Tucker, Random House Australia, Sydney, 2002, p. 163 2. ‘Albert Tucker’, Art Gallery of New South Wales at: https://www.artgallery.nsw.gov.au/collection/artists/tucker-albert/ (accessed 23 March 2025) 3. ibid. 4. Harding, L., Hinterlands: Albert Tucker’s Landscapes 1960 – 75, Heide Museum of Modern Art, Bulleen, 2008, p. 31 5. ‘James Gleeson Interviews: Albert Tucker’ (transcript), 2 May 1979, National Gallery of Australia, at: https://nga.gov.au/media/dd/documents/tucker.pdf (accessed 23 May 2025) 6. ‘Albert Tucker, The Intruder, 1964’, Art Gallery of New South Wales, at: https://www.artgallery.nsw.gov.au/collection/works/429.2016/#about (accessed 23 May 2025) 7. Heimans, F., Australian Biography: Albert Tucker, (video excerpt and transcript), 26 mins, 1993, National Film and Sound Archive, at: https://www.nfsa.gov.au/collection/curated/asset/99512-australian-biography-albert-tucker?utm_source=pocket_saves (accessed 23 May 2025) KELLY GELLATLY © The Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Deutscher and Hackett
Nov. 25, 2025
ALBERT TUCKER 1914-1999 Pioneer 2 1968 synthetic polymer paint on composition board 75.9 x 60.7 cm frame: original, John Kosnar, Melbou
Est: $80,000 - $120,000
ALBERT TUCKER 1914-1999 Pioneer 2 1968 synthetic polymer paint on composition board signed 'Tucker' lower right; signed, dated and inscribed '7 "PIONEER 2" / ALBERT TUCKER / 1968 / 19' verso 75.9 x 60.7 cm frame: original, John Kosnar, Melbourne PROVENANCE Albert Tucker, Melbourne Bonython Art Gallery, Sydney Private Collection, New South Wales, acquired from the above on 12 November 1969 EXHIBITED Albert Tucker, Bonython Art Gallery, Sydney, 28 October – 19 November 1969, no. 19
Smith & Singer
Nov. 25, 2025
ALBERT TUCKER 1914-1999 John Batman at Williamstown 1971 synthetic polymer paint on composition board 71.5 x 91.5 cm frame: original, J
Est: $60,000 - $80,000
ALBERT TUCKER 1914-1999 John Batman at Williamstown 1971 synthetic polymer paint on composition board signed and dated 'Tucker 71' lower right; signed and inscribed '"JOHN BATMAN AT WILLIAMSTOWN" / ALBERT TUCKER' verso 71.5 x 91.5 cm frame: original, John Kosnar, Melbourne PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Smith & Singer (trading as Sotheby's Australia) Private Collection, Melbourne, acquired from the above EXHIBITED Albert Tucker, Skinner Galleries, Perth, January 1972, no. 15, illustrated Albert Tucker: The Lucky Country, Sotheby's Australia, Sydney, 11-23 March 2013, Sotheby's Australia, Melbourne, 3-16 April 2013, no. 12, illustrated LITERATURE Geoffrey Smith, Albert Tucker: The Lucky Country, Sotheby's Australia, Melbourne, 2013, pp. 12, 13 (illustrated)
Smith & Singer
Nov. 25, 2025
ALBERT TUCKER 1914-1999 Ibis in Gippsland Swamp 1964 synthetic polymer paint on composition board 50.7 x 38.3 cm
Est: $15,000 - $25,000
ALBERT TUCKER 1914-1999 Ibis in Gippsland Swamp 1964 synthetic polymer paint on composition board signed and dated 'Tucker 64' lower left 50.7 x 38.3 cm PROVENANCE Albert Tucker, Melbourne Australian Galleries, Melbourne (label verso) David Hay, Melbourne, acquired from the above on 26 August 1964 Australian and European Paintings, Drawings, Prints, Ceramics and Sculpture, Christie's Australia, Melbourne, 1 August 1995, lot 16, illustrated Private Collection, Sydney Important Australian Art, Smith & Singer, 24 August 2022, lot 43, illustrated Private Collection, Melbourne, acquired from the above LITERATURE Christopher Uhl, Albert Tucker, Lansdowne Press, Melbourne, 1969, cat. no. 14.11, ‘Ibis in Swamp', p. 104
Smith & Singer
Nov. 19, 2025
ALBERT TUCKER (1914-1999), Pauline McCarthy 1944-45
Est: $12,000 - $16,000
PROPERTY FROM THE FRANK & JANET SOUTH COLLECTION, VICTORIA ALBERT TUCKER (1914-1999) Pauline McCarthy 1944-45 oil on board 33.0 x 23.0 cm; 46.5 x 36.5 cm (framed) signed and dated verso: Tucker 1944/45
Menzies
Oct. 21, 2025
ALBERT TUCKER (1914-1999) Ibis Feeding 1964 oil on board 60 x 80.5cm
Est: $12,000 - $18,000
ALBERT TUCKER (1914-1999) Ibis Feeding 1964 oil on board signed and dated lower left: Tucker 64 60 x 80.5cm PROVENANCE: Australian Galleries, Melbourne Private collection, Sydney Leonard Joel, Sydney, 7 March 2016, lot 261 Private collection, Melbourne OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
Oct. 21, 2025
ALBERT TUCKER (1914-1999) Parrots in a Queensland Landscape oil on canvas 75 x 59.5cm
Est: $20,000 - $30,000
ALBERT TUCKER (1914-1999) Parrots in a Queensland Landscape oil on canvas signed lower left: Tucker 75 x 59.5cm PROVENANCE: Sotheby's, Melbourne, 5 May 2003, lot 132 Private collection, Sydney Sotheby's, Melbourne, 16 May 2006, lot 40 Private collection, Melbourne Leonard Joel, Melbourne, 3 December 2013, lot 17 Private collection, Melbourne OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
Sep. 09, 2025
Albert Tucker, Brolga in landscape, 1963
Est: £4,500 - £5,000
Albert Tucker, Australian 1914-1999 - Brolga in landscape, 1963; acrylic on board, signed and dated lower left 'Tucker 63', 24.5 x 34.5 cm (ARR) Note: a similar work from the same year 'Brolga, 1963' is now in the collection of the Art Gallery of New South Wales, Sydney. Alongside Arthur Boyd and Sidney Nolan, Tucker redefined Australian painting and its response to the native landscape in the post-war era.
Roseberys
Aug. 27, 2025
Albert Tucker, Lunar landscape, 1957
Est: $60,000 - $80,000
Property of The Museum of Modern Art (MoMA), New York, sold to benefit its acquisitions program Albert Tucker (1914 - 1999) Lunar landscape, 1957 synthetic polymer paint on composition board 96.0 x 131.0 cm signed and dated lower right: Tucker 1957 PROVENANCE Poindexter Gallery, New York The Museum of Modern Art, New York, acquired from the above in April 1958 (label attached verso) EXHIBITED Paintings - Albert Tucker, Imperial Institute, London, 11 April – 8 May 1957, cat. 26 Recent Acquisitions – Painting and Sculpture, Museum of Modern Art, New York, USA, 30 January – 19 April 1959 Albert Tucker: A Retrospective, National Gallery of Victoria, Melbourne, 21 June - 12 August 1990 (label attached verso) LITERATURE Albert Tucker letter to Sidney Nolan, 26 April 1958, in McCaughey, P. (ed.), Bert & Ned: The Correspondence of Albert Tucker and Sidney Nolan, The Miegunyah Press, Melbourne, 2006, pp. 192, 193 (illus.) Recent Acquisitions checklist with notes, Museum of Modern Art, New York, 1959, pp. 5 – 6 Feldman, R., 'Australian artist paints with cement', The Australian Women's Weekly, Sydney, 9 September 1959, p. 11 Uhl, C., Albert Tucker, Lansdowne Press, Melbourne, 1969, cat. 10.15, p. 100 Mollison, J., & Minchin, J., Albert Tucker: A Retrospective, National Gallery of Victoria, Melbourne, 1990, pp. 53 (illus.), 115 Albert Tucker interviewed by Robin Hughes for Australian Biography: Albert Tucker, Film Australia, 14 February 1994 Fry, G., Albert Tucker, The Beagle Press, Sydney, 2005, pp. 133 (illus.), 156 Andrews, T., Albert Tucker's Grotesques, Heide Museum of Modern Art, Melbourne, 2024, p. 6 ESSAY Albert Tucker left Australia for London in 1947, fleeing the trauma and hurt of his private life after his wife, artist Joy Hester, left him and their young son Sweeney for fellow artist Gray Smith. In early 1948, he settled in Paris, immersing himself in the city, its culture and its artistic riches. Living in an apartment behind the Paris Opera on the Right Bank that had once been occupied by Edvard Münch1, it was in Paris that Tucker experienced firsthand the work of the European modernists that he had studied in reproduction in Melbourne. In 1948 Tucker travelled to Italy, where he responded deeply to the themes of birth, death and resurrection that he saw in the work of the Renaissance masters he encountered there. The depictions of extreme pain and anguish that fills many of these works no doubt resonated with his own experiences, and accordingly, he described the process of making the encrusted surfaces of his paintings of the following decade as ‘unloading the demons.’2 Tucker exhibited in Rome with his close friend and artistic rival Sidney Nolan in 1954.3 This exhibition served to introduce the work of both artists to European audiences, and importantly, align their individual practices with the broader interests of international modernism. While together in Rome, Nolan shared his recent photographs of drought-affected Queensland with his friend. Inspired in part by the horror depicted in these images (such as the contorted forms of dead horses and the carcasses of cows hanging from trees), Tucker returned to Australian themes, developing a new and enduring motif – the craggy profile of his Antipodean Heads. Of the landscape, yet deeply affected by it, the faces of these outback ‘heroes’ are rough, and battle scarred, resilient and enduring. After being introduced to the possibilities of polyvinyl acetate (PVA) by Italian artist Alberto Burri, Tucker began to build up the surfaces of these works, creating pitted landscapes and cratered forms that also resemble the ‘wounds and gashes’4 of the early Italian religious painting that so affected him. This is achieved to powerful effect in Lunar landscape, 1957, with its otherworldly purple sky providing a startling contrast to the almost violent lacerations that punctuate the land’s dark, pock-marked surface. Tucker and his Californian girlfriend, Mary Dickson, left Italy for London in October 1956, settling in a large Victorian apartment not far from Paddington Station.5 Tucker was convinced that London, not the continent, was the place to make his reputation, and Lunar landscape was included in the artist’s ‘first comprehensive show’6 at the Imperial Institute, South Kensington in April 1957. However, Tucker’s acceptance as a major proponent of international modernism was cemented elsewhere, in 1958, when Lunar landscape was acquired for the collection of the Museum of Modern Art by its director Alfred J. Barr and included in the Museum’s Recent Acquisitions exhibition of 1959 alongside artists such as Adolph Gottlieb, Jasper Johns and Antoni Tàpies. This was a game-changer for the struggling artist, who recalled: ‘I saw the Museum of Modern Art [and] was delighted. I saw Nolan. We went up one day there to ... go to the Museum and they had a big sign up saying ‘New acquisitions of the past year’… And Nolan said, ‘Well let's go in and go and see what's there’, and the first painting I saw [when] I went through the door… was one half of this painting of mine [ Lunar landscape] on the wall… And Nolan said, ‘Let's go up and have a cup of coffee’ to their restaurant on the third floor, which we did. So we went around, got into the elevator and… another man got in. A tall, rather grey spare man got into the elevator with us and Nolan looked at him and said… ‘Oh, oh hello Mr. Barr, how are you?’ And Mr Barr looks, ‘Oh hello, hello Mr. Nolan, how are you?’ and so on. And he said, ‘Did you see... Mr. Nolan, that we have a painting of one of your compatriots just outside on the wall.’ So Nolan then... he just said, ‘Oh well, here he is’… And there I was. And so Barr was quite delighted… he came up and he had a cup of coffee with us. We talked for half an hour. There I was, right on the top, on that level… in a flash…’6 This serendipitous acquisition by MoMA was greatly aided by Dickson who was a masterful advocate of Tucker’s work. In April 1958, after nine years together, Dickson returned to the United States, taking some of Tucker’s paintings with her and placing them at Poindexter Gallery, New York. It was here, in the Gallery’s stockroom, that Barr saw Lunar landscape and purchased it for the Museum.7 As he said: ‘I saw this piece of insistent crudeness and recognised a master illusionist at work... [It] put me immediately in mind of the art brut school in France where painters consciously defied good taste and restraint.’8 After her homecoming, Mary broke off the relationship, and Tucker, distraught, attempted to follow her, but was unable to secure an American visa because of his limited finances (he needed to be able to demonstrate that he had enough money to buy a return fare and to support himself while there). Undeterred, he decided to go to Canada instead, so that he could earn some money and then travel down to New York to obtain a visa. To his utter surprise, the artist received a telegram while on the boat to Montreal, informing him that he had just won The Women’s Weekly Art Prize9, then the richest art prize in the Commonwealth. With his greatly changed circumstances, Tucker immediately obtained a two-year Visa: ‘So I floated out of the [Consulate]... I always have that feeling of floating... when I really achieve something or escape from something. You feel yourself rise in the air. I’m sure it was an out of the body experience. I’m sure that my inner body there lifts up two or three feet into the air and I just float out and so I’ve floated back to the YMCA, packed up everything, went down to the station, worked out the train times and hopped on a train headed for New York.’10 Albert Tucker continues to be represented in the MoMA collection, with a significant work, Explorers, Burke and Wills, 1960. 1. Transcript of Robin Hughes interview with Albert Tucker, 14 February 1994, Australian Biography: Albert Tucker, National Film and Sound Archive at https://www.nfsa.gov.au/collection/curated/asset/99512-australian-biography-albert-tucker (accessed 12 May 2025) 2. Burchill, L. B., Albert Tucker: Marking the Past, Heide Museum of Modern Art, 29 February – 16 August 2020 at https://wp.heide.com.au/app/uploads/2022/09/882.2020_MarkingThePast.pdf (accessed 12 May 2025) 3. Mostra dei Pittori Australiani: Albert Tucker e Sidney Nolan, Associazione della Stampa Estera, Via della Mercede, 54, Roma, 20 – 31 May 1954. 4. Transcript of James Gleeson interview with Albert Tucker, 2 May 1979, James Gleeson Oral History Collection, National Gallery of Australia at https://nga.gov.au/media/dd/documents/tucker.pdf (accessed 12 May 2025) 5. Burke, J., Australian Gothic: A Life of Albert Tucker, Knopf, Milsons Point, 2002, p. 345 6. Albert Tucker cited in Hughes, op. cit. 7. ibid. 8. Feldman, R., The Australian Women’s Weekly, 9 September 1959, p. 11, cited in Burke, op. cit., p. 351 9. Albert Tucker cited in Hughes, op. cit. 10. ibid. KELLY GELLATLY © The Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art.
Deutscher and Hackett
Aug. 27, 2025
Albert Tucker, Betrayal, 1952
Est: $400,000 - $600,000
Albert Tucker (1914 - 1999) Betrayal, 1952 oil on composition board 61.0 x 136.0 cm signed and dated lower left: Tucker Noli 52 dated and inscribed verso: BETRAYL / 1952 PROVENANCE Tolarno Galleries, Melbourne Michael and Miriam Lasky, Melbourne, acquired from the above in 1985 William Mora Galleries, Melbourne Private collection, Melbourne, acquired from the above in 1999 EXHIBITED Albert Tucker, Galleria ai Quattro Venti, Rome, 2 April – 2 May 1953 Mostra dei Pittori Australiani: Albert Tucker e Sidney Nolan, Associazione della Stampa Estera, Rome, 20 – 31 May 1954, cat. 1 (as ‘Tradimento’) Albert Tucker, Bonython Art Gallery, Sydney, 28 October – 19 November 1969, cat. 93 Albert Tucker Paintings 1945 – 1960, Tolarno Galleries, Melbourne, 1982, cat. 15 (illus. in exhibition catalogue) Albert Tucker: A Retrospective, National Gallery of Victoria, Melbourne, 21 June – 12 August 1990 (label attached verso) A Link and a Trust: Albert Tucker and Sidney Nolan's Rome Exhibition, Heide Museum of Modern Art, Melbourne, 18 November 2006 - 20 May 2007, cat. 1 (illus. in exhibition catalogue, n.p.) Albert Tucker: Marking the Past, Albert & Barbara Tucker Gallery, Heide Museum of Modern Art, Melbourne, 29 February – 16 August 2020 LITERATURE Uhl, C., Albert Tucker, Lansdowne Press, Melbourne, 1969, cat. 8.3, pl. K, pp. 52, 56 (illus.), 98 Mollison, J. & Minchin, J., Albert Tucker: A Retrospective, National Gallery of Victoria, Melbourne, 1990, p. 101 (illus.) Fry, G., Albert Tucker, Beagle Press, Sydney, 2005, pp. 98 (illus.), 124, 239 (illus.) ESSAY When Albert Tucker painted Betrayal in 1952, he had been living and working in Europe for four years and had only just settled in the seaside village of Noli, located halfway between Nice and Genoa on the Italian coast. He was to remain there for ten months.1 While in Noli, Tucker began to read the Bible2, perhaps as a way in which to further both his knowledge and understanding of the stories he had been absorbing through the works of the Renaissance masters as he travelled through Italy. The artist responded deeply to the themes of birth, death and resurrection that he encountered in these works, and to their often graphic depiction, later recognising their correlation to the horrors he had seen during his time as an artist illustrator in the plastic surgery ward at Heidelberg Military Hospital.3 As he observed: ‘…they [‘all the kinds of mangled things’ in the plastic surgery ward] gave me images that I've fed on all my life. They appeared all later on. For example, see this one here… I developed that in Italy: all the gashes on all the paintings of the Christian martyrs. San Sebastian. The Virgin with a thousand swords going through her. Or San Sebastian perforated with arrows. Grünewald's Crucifixion, where you had Christ in a state of decomposition and simply decomposing on the cross, a horrific image with every wound, every gash.’4 Betrayal, 1952 was the first major painting Tucker created in Noli and his first Biblical subject.5 Judas’ betrayal of Jesus enabled the artist to tackle one of the central stories of Christian theology, and in doing so, to return to the examination of human values and morality that had underpinned his earlier Images of Modern Evil from 1943 – 48. In Tucker’s ambitiously modern version of the Kiss of Judas we see Christ and Judas in the Garden of Gethsemane at the moment of the betrayal, as Judas leans in to kiss Jesus, and thus reveal his identity. Both the central figures and the Roman guards that surround them, appear almost frieze-like, pushed to the front of the composition in a compression of space that creates a sense of danger and impending doom. The assembled group appear in profile, their craggy landscape-scarred faces and the glimpse of dark, abstracted background behind the figures providing a sense of the images yet to come – Tucker’s celebrated Antipodean Heads. The bright blues, reds and greens of the painting were unusual in the artist’s work at the time but similarly reappear later, in his images of the Australian bush after his return to Australia in 1960. Given that the long and troubling dialogue around John and Sunday Reed’s adoption of Tucker and Joy Hester’s son Sweeney was only resolved in the early 1950s6, the theme of betrayal was no doubt also one that the artist felt personally. Across his career, Tucker was open to drawing upon the wellspring of personal feelings in his work, and of using his practice as a means of ‘unloading the demons’: ‘…every painting you develop a kind of personal library, an iconography of the events in one's personal life, and these events would invariably come from traumatic experiences which one had had, but which, in going in the course of life there, these early traumas would be activated by, or triggered by, some element there which corresponded to it, and then the whole thing would come alive and feed the present experience. And so this was the thing I started using creatively as I became more and more aware of it…’6 Tucker exhibited Betrayal twice while in Europe, firstly in 1953, and then in Rome in 1954, alongside the work of his close friend and artistic rival, Sidney Nolan. After working somewhat in isolation as the Australian expatriate artist travelled through Europe, this exhibition served to introduce his work to European audiences, and importantly, to align Tucker’s practice with the broader interests of international modernism. The exhibition also appears to have been favourably received, with one Italian critic noting, ‘clear evidence of a cartoonist style in the Fortunato Depero fashion and a powerful sense of the monstrous in the style of Picasso, although a much more readable Picasso.’7 After visiting the exhibition, celebrated Italian artist Giorgio de Chirico – whose work Tucker greatly admired – invited him to attend his ‘Sunday Soirées’, whose carefully selected guest list included aristocracy and leading philosophers of the time.8 This positive development was closely followed by Tucker’s representation at the Venice Biennale in 1956, and the acquisition of his work by the Museum of Modern Art, New York in 1958 (see lot 12). 1. Burke, J., Australian Gothic: A Life of Albert Tucker, Knopf, Milsons Point, 2002, p. 325 – 26 2. ibid., p. 328 3. Transcript of Robin Hughes interview with Albert Tucker, 14 February 1994, Australian Biography: Albert Tucker, National Film and Sound Archive, see: https://www.nfsa.gov.au/collection/curated/asset/99512-australian-biography-albert-tucker, (accessed 21 July 2025) 4. ibid. 5. Burke, op. cit. 6. Albert Tucker’s first wife, artist Joy Hester, left Tucker for artist and poet, Gray Smith, in 1947. When Tucker travelled abroad in October of that year, he left their young son Sweeney in the care of John and Sunday Reed, who later adopted him. 7. Albert Tucker: Reading the Past, VCE Art: Unit 4, Outcome 1, p. 8, Heide Learning, Heide Museum of Modern Art, Melbourne, 29 February 2020 – 14 March 2021, see: https://wp.heide.com.au/app/uploads/2022/10/920.AlbertTucker_MarkingThePast_VCEArtResource.pdf (accessed 22 July 2025) 8. Hambur, M., Albert Tucker: The Modern Metaphysical, Heide Museum of Modern Art, Melbourne, 2022, see: https://wp.heide.com.au/app/uploads/2023/05/1034.Albert-Tucker_Modern-Metaphysical_Tucker-Catalogue_v02a.pdf (accessed 22 July 2025) KELLY GELLATLY © The Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art.
Deutscher and Hackett
Aug. 19, 2025
ALBERT TUCKER, (1914 - 1999), Ibises - 1964, oil on board, 60 x 80 cm; frame: 74.5 x 94.5 cm (original frame by John Kosnar, Melbourne)
Est: $20,000 - $22,000
ALBERT TUCKER (1914 - 1999) Ibises - 1964 oil on board signed and dated lower left
Lawsons
Aug. 19, 2025
ALBERT TUCKER, (1914 - 1999), River Gum - Metung - 1964, oil on board, 35 x 25 cm; frame: 48.5 x 38.5 cm (original frame by John Kosnar, Melbourne)
Est: $14,000 - $16,000
ALBERT TUCKER (1914 - 1999) River Gum - Metung - 1964 oil on board signed and dated lower right titled on gallery label verso
Lawsons
Aug. 19, 2025
ALBERT TUCKER 1914-1999 Explorer 1967 synthetic polymer paint on composition board 82 x 91 cm
Est: $120,000 - $180,000
ALBERT TUCKER 1914-1999 Explorer 1967 synthetic polymer paint on composition board signed, dated and inscribed ‘22 EXPLORER 1967 / ALBERT TUCKER / 26 / 1967 / 22 / HALEYS GULLY ROAD / HURSTBRIDGE / VICTORIA 3099 / AUSTRALIA' verso 82 x 91 cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Albert & Barbara Tucker Foundation, Melbourne, acquired from the above Smith & Singer Private Collection, Hong Kong, acquired from the above on 15 December 2021
Smith & Singer
Aug. 19, 2025
ALBERT TUCKER 1914-1999 Australian Girl in Paris 1957 synthetic polymer paint on composition board 96.4 x 130.3 cm
Est: $250,000 - $350,000
ALBERT TUCKER 1914-1999 Australian Girl in Paris 1957 synthetic polymer paint on composition board signed and dated 'Tucker / 1957' lower right; signed and inscribed '"AUSTRALIAN GIRL IN PARIS" / ALBERT TUCKER' verso 96.4 x 130.3 cm PROVENANCE Albert Tucker, London Private Collection Australian Paintings, Christie's Australia, Sydney, 22 October 1975, lot 496 Private Collection, New South Wales Fine Art Auction, Deutscher and Hackett, Melbourne, 9 May 2007, lot 28, illustrated Private Collection, Melbourne, acquired from the above EXHIBITED The Australian Women's Weekly Portrait Prize 1957, National Art Gallery of New South Wales, Sydney, 25 September – 20 October 1957; National Gallery of Victoria, Melbourne; National Gallery of South Australia, Adelaide; Queensland National Art Gallery, Brisbane; Art Gallery of Western Australia, Perth; Tasmanian Museum and Art Gallery, Hobart; Artists' Society of Canberra Gallery, Canberra, no. 43 LITERATURE The Australian Women's Weekly, Sydney, 2 October 1957, pp. 7, 8 (illustrated) The Australian Women's Weekly, Sydney, 9 October 1957, p. 13 (illustrated) Christopher Uhl, Albert Tucker, Lansdowne Press, Melbourne, 1969, cat. no. 10.14, ‘Australian Girl in Paris 2', p. 100
Smith & Singer
Aug. 18, 2025
Albert Tucker, Australian 1914-1999, Image of Modern Evil 1972, Pastel on paper, 38.5 x 48.5 cm
Est: $25,000 - $35,000
Albert Tucker Australian, 1914-1999 Image of Modern Evil 1972 Pastel on paper Signed and dated lower left
Artvisory
Jul. 31, 2025
ALBERT TUCKER, LOOK SPORT MUST YOU ROCK THE DAMN THING,
Est: $1,000 - $1,500
ALBERT TUCKER, LOOK SPORT MUST YOU ROCK THE DAMN THING, INK ON PAPER, SIGNED UPPER RIGHT, 26 X 31.5CM, FRAME SIZE: 58 X 62CM
Leonard Joel
Jul. 31, 2025
ALBERT TUCKER, SOME FOOL SPLASHED INK ON THE BLUE PRINT,
Est: $1,000 - $1,500
ALBERT TUCKER, SOME FOOL SPLASHED INK ON THE BLUE PRINT, INK ON PAPER, SIGNED LOWER RIGHT, 29.5 X 26.5CM, FRAME SIZE: 58 X 62CM
Leonard Joel
Jul. 12, 2025
TUCKER Albert (1914-1999), Portrait of John Perceval, Colour Photograph A/P, 37x25cm (image)
Est: $300 - $500
TUCKER, Albert (1914-1999) Portrait of John Perceval Signed lower right. Colour Photograph A/P 37x25cm (image) PROVENANCE: Leonard Joel, Melbourne, 13th June 2018 (lot 3097)
Davidson Auctions
Jun. 24, 2025
ALBERT TUCKER (1914-1999) (Parrot in the Bush) oil on board 33 x 50cm
Est: $15,000 - $20,000
ALBERT TUCKER (1914-1999) (Parrot in the Bush) oil on board signed lower right: Tucker 33 x 50cm PROVENANCE: Private collection, Melbourne Thence by descent OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
Jun. 24, 2025
ALBERT TUCKER (1914-1999), Antipodean Head 1981
Est: $800 - $1,200
ALBERT TUCKER (1914-1999) Antipodean Head 1981 colour lithograph signed, dated and editioned on margin: Tucker 81 / A P I 24.5 x 23.5cm PROVENANCE Private collection, Canberra
Gibson's
Jun. 08, 2025
[AUSTRALIAN ART] Albert Tucker: The Die-Hard
Est: $40 - $60
Ivan and Jocelyn Smith; Albert Tucker The Die-Hard Sydney: Harper & Row, 1979. 31cm x 26cm. 108 pages, tipped in colour plates. Cloth, brown lettering, slipcase. 500 numbered copies signed by the authors and the artist. Minor handling wear. 1.60kg
The Book Merchant Jenkins
Jun. 05, 2025
Albert tucker by James Mollison and Nicholas Bonham
Est: $30 - $40
Albert tucker by James Mollison and Nicholas Bonham
Lawsons
May. 18, 2025
TUCKER Albert (1914-1999), Portrait of John Perceval, Colour Photograph A/P, 37x25cm (image)
Est: $400 - $700
TUCKER, Albert (1914-1999) Portrait of John Perceval Signed lower right. Colour Photograph A/P 37x25cm (image) PROVENANCE: Leonard Joel, Melbourne, 13th June 2018 (lot 3097)
Davidson Auctions
May. 07, 2025
ALBERT TUCKER, HORNED FIGURE, 1966
Est: $180,000 - $240,000
ALBERT TUCKER (1914 - 1999) HORNED FIGURE, 1966 synthetic polymer paint on composition board 91.0 x 122.0 cm signed and dated lower left: Tucker / 1966 inscribed with title verso: HORNED FIGURE bears inscription on gallery label verso: HORNED FIGURE / ALBERT TUCKER PROVENANCE Australian Galleries, Melbourne (label attached verso) Private collection, Melbourne EXHIBITED Albert Tucker, Australian Galleries, Melbourne, 26 April – 13 May 1966, cat. 15 ESSAY Albert Tucker decided to explore distinctly Australian themes in his work while living in Italy (he had left Australia in 1947 and was to not return until 1960), where distance allowed a different perspective on the creative possibilities contained within inherited myths and traditions. Sharing a fascination with the story of Ned Kelly alongside his close friend Sidney Nolan, who had painted his first Kelly series in 1946 – 47, Tucker began his investigations of Australian iconography in the same place, creating versions of the Kelly story that pictured the bushranger as a dark, mysterious and isolated figure quite unlike the jaunty iron-clad hero of Nolan’s brightly coloured Ripolin paintings. As Tucker later recalled in an interview with Janet Hawley, he had once said to Nolan that ‘I was painting hell, and he was painting paradise… and I saw a very satisfied grin spread across Nolan’s face.’1 The subject of Kelly was a starting point for Tucker, resulting in a broader exploration of the hardship of life in the Australian bush and the relationship between man and the land. The craggy and scarified forms of Tucker’s images from this time – thick with paint and encrusted surfaces – were no doubt inspired in part by Nolan’s photographs of the 1962 Queensland drought, which he shared with Tucker when the pair reconnected in Rome where Tucker was based.2 However, the artist’s discovery in Paris of the work of Jean Dubuffet, and his meeting with Italian artist Alberto Burri while living in Rome, also played a considerable role in this important transition in his practice. Tucker soon adopted Burri’s use of polyvinyl acetate (which enabled Burri to build up the surfaces of his works), using its ‘flexible and leathery toughness’3 to great effect in his subsequent Antipodean Heads, and, as these works coalesced into bushrangers, explorers and other creatures, for the remainer of his career. As he recalled: ‘I’d been away long enough to be suffering acute bouts of nostalgia and I was getting all these memory images of Australia – and oddly enough not so much specific imagery, but in images of texture and colour and light and all that kind of thing that’s very Australian, very rough textures.’4 Following the influence of artists such as Picasso, Tucker had a lifelong interest in non-Western art and he began collecting sculptures and masks in Melbourne in the 1940s, later travelling to New Guinea to experience the Sepik River region firsthand and further expand his collection. Like the early French modernists, ‘primitive’ art served as a liberating force in Tucker’s practice, helping to free him from the inherited constraints of the Western tradition and open his practice to the power and possibilities of myth. The potent combination of Surrealism, the poetry of T.S. Eliot and contemporary discussion of Jung’s archetypes, served as a platform for discovery and experimentation in his work from as early as the 1940s and the creation of his now iconic series Images of Modern Evil, 1943 – 48. From the grinning faces of the women in a painting such as Victory girls, 1943 (National Gallery of Australia) and the triangular gaping mouth of the figure in Memory of Leonski, 1943 (National Gallery of Victoria), the mouth motif thus transformed into the shape of a crescent, serving as a kind of visual shorthand for the artist: ‘In a way, that crescent thing became a kind of key; it was a hieroglyphic thing. I reached the point in around 1943 that, if I painted and I did not have that crescent, then I could not work. I would have to tear it down, throw it away, nothing would happen. But the moment I got that crescent image in, the thing would fill itself in. It was like automatic writing. Once I had that key form, the rest of the thing would fill itself in rapidly and immediately with whatever data was in my head at the time from wandering around Melbourne.’5 While maintaining an echo of Tucker’s crescent form, Horned figure, 1966 seemingly takes its cue from the mythological horned figures that populate ancient sculpture and the memory of a double-headed axe that the artist had seen in the Etruscan Museum in Rome.6 With its feathery visage and cleaved mouth, statuesque body and claw-like torso, the creature of Horned figure is a menacing and primordial amalgam of recognisable parts. And, like its creator’s contested relationship to his homeland, it appears at once part of the landscape it finds itself in, and strangely isolated from it. As Tucker reflected in later life: ‘…But I do feel that whatever the struggles and conflicts and difficulties of my own life and I did work out the resolution of a lot of them through images and painting and I'd hope this [his paintings] plots a sort of an autobiographical diagram almost, a diagrammatical account of my life because I think it can be traced through all that now. And so... I feel that I have left a few footprints shall I say…’7 1. Hawley, J., ‘Making Pictorial Sense of Modern Evil’, Good Weekend, 18 February 1995, p. 40, cited in Burke, J., Australian Gothic: A Life of Albert Tucker, Random House Australia, Sydney, 2002, p. 163 2. ‘Albert Tucker’, Art Gallery of New South Wales at: https://www.artgallery.nsw.gov.au/collection/artists/tucker-albert/ (accessed 23 March 2025) 3. ibid. 4. Harding, L., Hinterlands: Albert Tucker’s Landscapes 1960 – 75, Heide Museum of Modern Art, Bulleen, 2008, p. 31 5. ‘James Gleeson Interviews: Albert Tucker’ (transcript), 2 May 1979, National Gallery of Australia, at: https://nga.gov.au/media/dd/documents/tucker.pdf (accessed 23 May 2025) 6. ‘Albert Tucker, The Intruder, 1964’, Art Gallery of New South Wales, at: https://www.artgallery.nsw.gov.au/collection/works/429.2016/#about (accessed 23 May 2025) 7. Heimans, F., Australian Biography: Albert Tucker, (video excerpt and transcript), 26 mins, 1993, National Film and Sound Archive, at: https://www.nfsa.gov.au/collection/curated/asset/99512-australian-biography-albert-tucker?utm_source=pocket_saves (accessed 23 May 2025) KELLY GELLATLY © The Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Deutscher and Hackett
Apr. 29, 2025
ALBERT TUCKER, (1914 - 1999), Brolga - 1966, oil on board, 45 x 60 (frame: 72 x 87) cm
Est: $22,000 - $24,000
ALBERT TUCKER (1914 - 1999) Brolga - 1966 oil on board signed and dated lower right
Lawsons
Apr. 08, 2025
ALBERT TUCKER 1914-1999 Girl Bathing (1971) synthetic polymer paint on composition board 38 x 50.6 cm
Est: $15,000 - $25,000
ALBERT TUCKER 1914-1999 Girl Bathing (1971) synthetic polymer paint on composition board signed ‘Tucker' lower right 38 x 50.6 cm PROVENANCE Albert Tucker, Melbourne Australian Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 10 March 1971, ‘Figure Wading in River' Australian & European Pictures, Tim D. Goodman, Sydney, 12 August 1996, lot 148, ‘Mrs Fraser', illustrated Gould Galleries, Melbourne, acquired from the above Private Collection, Melbourne, acquired from the above Private Collection, Sydney, by descent from the above EXHIBITED The Angry Penguins: An Exhibition of Highly Important Works by Boyd, Nolan, Perceval, Tucker, Gould Galleries, Melbourne, 14 March – 20 April 1997, no. 23, ‘Figure Wading in River, 1970', illustrated
Smith & Singer
Apr. 08, 2025
ALBERT TUCKER 1914-1999 Intruder and Parrots 1970 synthetic polymer paint on composition board 55 x 70 cm
Est: $40,000 - $60,000
ALBERT TUCKER 1914-1999 Intruder and Parrots 1970 synthetic polymer paint on composition board signed and dated ‘Tucker 70' lower left 55 x 70 cm PROVENANCE Albert Tucker, Melbourne Private Collection Australian Paintings, Leonard Joel, Melbourne, 7 November 1974, lot 430, illustrated Private Collection Gould Galleries, Melbourne and Sydney (stock 13,409) Private Collection, Queensland, acquired from the above in 2004 EXHIBITED 100 Years of Great Australian Art, Gould Galleries, Melbourne, 2-28 March 2004; Gould Galleries, Sydney, 6 April – 9 May 2004, no. 26, illustrated
Smith & Singer
Mar. 09, 2025
ALBERT LEE TUCKER - FIGURE - SYNTHETIC POLYMER PAINT AND SAND ON BOARD
Est: $2,500 - $4,000
ALBERT LEE TUCKER (1914-1999) FIGURE Signed and dated 78 lower right Synthetic polymer paint and sand on board 24 x 23cm Estimate $2,500/4,000 AUD
GFL Fine Art
Feb. 25, 2025
ALBERT TUCKER, (1914 - 1999), Parrot & Bush II - 1965, oil on board, 59 x 74 (frame: 81.5 x 96.5) cm
Est: $22,000 - $28,000
ALBERT TUCKER (1914 - 1999) Parrot & Bush II - 1965 oil on board signed and dated lower left; titled verso
Lawsons
Feb. 12, 2025
ALBERT TUCKER, (1914 - 1999), Parrot in Gum, c1980s, oil on canvas board, 35 x 45 cm (frame: 54 x 64 x 4 cm)
Est: $15,000 - $20,000
ALBERT TUCKER (1914 - 1999) Parrot in Gum, c1980s oil on canvas board signed Lower Left
Lawsons
Nov. 27, 2024
ALBERT TUCKER 1914-1999 Parrots in the Trees synthetic polymer paint on composition board 25 x 35 cm
Est: $8,000 - $12,000
ALBERT TUCKER 1914-1999 Parrots in the Trees synthetic polymer paint on composition board signed ‘Tucker' lower left 25 x 35 cm PROVENANCE Albert Tucker, Melbourne Private Collection, Melbourne
Smith & Singer
Nov. 27, 2024
ALBERT TUCKER 1914-1999 Explorer Resting 1967 synthetic polymer paint on canvas 122.8 x 152.7 cm frame: original, John Kosnar, Melbourn
Est: $250,000 - $350,000
ALBERT TUCKER 1914-1999 Explorer Resting 1967 synthetic polymer paint on canvas signed ‘Tucker 67' lower left; signed, dated and inscribed ‘ 3 "EXPLORER RESTING" / 1967 / ALBERT TUCKER / 4' verso 122.8 x 152.7 cm frame: original, John Kosnar, Melbourne PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Private Collection, Melbourne, by descent from the above EXHIBITED Obra pictórica de Albert Tucker, Instituto Nacional de Bellas Artes, Mexico, February 1969, no. 3, ‘Explorador descansando' Albert Tucker, Poindexter Gallery, New York, 15 March – 3 April 1969 Albert Tucker, Bonython Art Gallery, Sydney, 28 October – 19 November 1969, no. 32 Albert Tucker: Paintings, Cultural Centre, Manila; National Museum of Modern Art, Seoul; Museum of Modern Art, Pei San; Cultural Museum, Otsu City; Shibuya, Tokyo; Hanshui, Osaka; Museum of Taiwan, 1971, no. 4, illustrated Albert Tucker, Skinner Galleries, Perth, January 1972, no. 4
Smith & Singer
Nov. 27, 2024
ALBERT TUCKER 1914-1999 Parrot on the Tree Branch synthetic polymer paint on composition board 28 x 38 cm
Est: $8,000 - $12,000
ALBERT TUCKER 1914-1999 Parrot on the Tree Branch synthetic polymer paint on composition board 28 x 38 cm PROVENANCE Albert Tucker, Melbourne Private Collection, Melbourne
Smith & Singer
Nov. 27, 2024
ALBERT TUCKER 1914-1999 Image of Modern Evil 1972 pastel on paper 70 x 50.5 cm
Est: $30,000 - $50,000
ALBERT TUCKER 1914-1999 Image of Modern Evil 1972 pastel on paper signed and dated ‘Tucker 72' lower right 70 x 50.5 cm PROVENANCE Albert Tucker, Melbourne Dennis Gowing, Melbourne J.G.L. Investments Pty Ltd, Melbourne, acquired from the above on 27 May 1980 Important Australian Art from The J.G.L. Collection, Smith & Singer (trading as Sotheby's Australia), Sydney, 16 May 2018, lot 110, illustrated Private Collection, Sydney, acquired from the above EXHIBITED The Great Decades of Australian Art: Selected Masterpieces from the J.G.L. Collection, National Gallery of Victoria, Melbourne, 21 November 1984 – 28 January 1985, ‘The Twin Image', illustrated LITERATURE Patrick McCaughey, The Great Decades of Australian Art: Selected Masterpieces from the J.G.L. Collection, National Gallery of Victoria, Melbourne, 1984, p. 83 (illustrated), ‘The Twin Image'
Smith & Singer
Nov. 27, 2024
ALBERT TUCKER 1914-1999 Flight of Rosellas (1975) synthetic polymer paint on composition board 56 x 71.4 cm
Est: $30,000 - $40,000
ALBERT TUCKER 1914-1999 Flight of Rosellas (1975) synthetic polymer paint on composition board signed ‘Tucker' lower right 56 x 71.4 cm PROVENANCE Albert Tucker, Melbourne Australian Paintings, Christie's Australia, Melbourne, 28 April 1976, lot 535, ‘Parrots in the Forest', illustrated Private Collection, Melbourne Andrew Ivanyi Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 10 August 1988
Smith & Singer
Nov. 20, 2024
ALBERT TUCKER (1914-1999), Ibis in Swamp 1964
Est: $20,000 - $30,000
PROPERTY FROM THE COLLECTION OF SIR RODERICK & LADY GILLIAN DEANE, NEW ZEALAND ALBERT TUCKER (1914-1999) Ibis in Swamp 1964 synthetic polymer paint on board 61.0 x 81.0 cm; 74.5 x 95.0 cm (framed) signed and dated lower left: Tucker 64 bears inscription verso: AG490
Menzies