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soldSep. 15, 2023Albert Tucker Signed
Est: AUD80 - AUD120The Die-Hard by Ivan and Jocelyn Smith and illustrated by Albert Tucker. Signed by all three. Published by Harper & Row, Sydney, 1979. Original cloth in slipcase in excellent condition.
Sydney Rare Book Auctions
soldAug. 29, 2023Albert Tucker (1914-1999) Ibises, 1964
Est: AUD15,000 - AUD20,000Albert Tucker (1914-1999) Ibises, 1964 signed and dated lower left: 'Tucker 64' oil on board 60.0 x 80.0cm (23 5/8 x 31 1/2in).
Bonhams
soldAug. 29, 2023Albert Tucker (1914-1999) Explorer and Rosella, 1964
Est: AUD18,000 - AUD25,000Albert Tucker (1914-1999) Explorer and Rosella, 1964 signed and dated lower left: 'Tucker 64' oil on board 24.0 x 34.5cm (9 7/16 x 13 9/16in).
Bonhams
soldAug. 29, 2023Albert Tucker (1914-1999) Parrot, 1969
Est: AUD5,000 - AUD7,000Albert Tucker (1914-1999) Parrot, 1969 signed and dated lower left: 'Tucker 1969' Mixed media on paper 25.0 x 35.0cm (9 13/16 x 13 3/4in). For further information on this lot please visit the Bonhams website
Bonhams
soldAug. 23, 2023ALBERT TUCKER 1914-1999 Springbrook (1973) synthetic polymer paint and watercolour on cardboard 25.5 x 32.2cm
Est: AUD12,000 - AUD16,000ALBERT TUCKER 1914-1999 Springbrook (1973) synthetic polymer paint and watercolour on cardboard signed 'Tucker' lower right 25.5 x 32.2cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Smith & Singer (trading as Sotheby's Australia) Private Collection, Queensland, acquired from the above in 2010 EXHIBITED Albert Tucker: The Timeless Land, Smith & Singer (trading as Sotheby's Australia), Melbourne, 12-27 March 2010, no. 26, illustrated LITERATURE Geoffrey Smith, Albert Tucker: The Timeless Land, Smith & Singer (trading as Sotheby's Australia), Melbourne, 2010, pp. 56, 57 (illustrated)
Smith & Singer
soldAug. 23, 2023ALBERT TUCKER 1914-1999 Image of Modern Evil 1972 pastel on paper 50.5 x 40.5 cm
Est: AUD15,000 - AUD25,000ALBERT TUCKER 1914-1999 Image of Modern Evil 1972 pastel on paper signed and dated 'Tucker '72' lower right 50.5 x 40.5 cm PROVENANCE Albert Tucker, Melbourne Australian & European Paintings & Sculpture, Christie's Australia, Sydney, 14 March 1974, lot 281 Private Collection, acquired from the above Australian Paintings, Prints, Books & Maps, Christie's Australia, Sydney, 3 October 1989, lot 645, illustrated Savill Galleries, Sydney (label verso) Private Collection, Sydney, acquired from the above
Smith & Singer
soldAug. 23, 2023ALBERT TUCKER 1914-1999 Springbrook (1973) synthetic polymer paint and watercolour on cardboard 25.5 x 32.2cm
Est: AUD12,000 - AUD16,000ALBERT TUCKER 1914-1999 Springbrook (1973) synthetic polymer paint and watercolour on cardboard signed 'Tucker' lower left 25.5 x 32.2cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Smith & Singer (trading as Sotheby's Australia) Private Collection, Queensland, acquired from the above in 2010 EXHIBITED Albert Tucker: The Timeless Land, Smith & Singer (trading as Sotheby's Australia), Melbourne, 12-27 March 2010, no. 27, illustrated LITERATURE Geoffrey Smith, Albert Tucker: The Timeless Land, Smith & Singer (trading as Sotheby's Australia), Melbourne, 2010, pp. 58, 59 (illustrated)
Smith & Singer
soldAug. 23, 2023§ ALBERT TUCKER 1914-1999 Ibis 1978 synthetic paint on composition board 56 x 76 cm
Est: AUD35,000 - AUD55,000§ ALBERT TUCKER 1914-1999 Ibis 1978 synthetic paint on composition board dated and inscribed 'IBIS / '78' verso 56 x 76 cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Australian and International Fine Art, Bonhams & Goodman, Melbourne, 24 November 2009, lot 43, illustrated Private Collection, Sydney, acquired from the above
Smith & Singer
soldAug. 23, 2023ALBERT TUCKER 1914-1999 Man in Desert I 1964 synthetic polymer paint on composition board 81 x 60.7 cm
Est: AUD300,000 - AUD500,000ALBERT TUCKER 1914-1999 Man in Desert I 1964 synthetic polymer paint on composition board signed and dated 'Tucker 64' lower right 81 x 60.7 cm PROVENANCE Albert Tucker, Melbourne Dominion Galleries, Sydney Harold Slater, Sydney, acquired from the above in 1965 Savill Galleries, Sydney Private Collection, United States of America, acquired from the above in 2003 EXHIBITED Albert Tucker, Dominion Art Galleries, Sydney, 6 April 1965, no. 24 Australian Paintings: Traditional, Modern & Contemporary, Savill Galleries, Melbourne, 14 February - 16 March 2003, no. 28, illustrated LITERATURE Frank Margan, 'And He Never Had a Lesson in His Life', The Daily Telegraph, Sydney, 7 April 1965, p. 20 (illustrated) Christopher Uhl, Albert Tucker, Lansdowne Press, Melbourne, 1969, cat. no. 18.21, p. 105
Smith & Singer
soldJun. 28, 2023ALBERT TUCKER (1914-1999), Tree 1962
Est: AUD10,000 - AUD15,000ALBERT TUCKER (1914-1999) Tree 1962 oil on board 45.0 x 60.0 cm signed and dated lower right: Tucker 62
Menzies
soldJun. 28, 2023ALBERT TUCKER (1914-1999), Birds in Flight 1974
Est: AUD30,000 - AUD40,000ALBERT TUCKER (1914-1999) Birds in Flight 1974 oil on board 59.5 x 75.0 cm signed and dated lower right: Tucker/ 74 bears inscription on label verso: BIRDS IN FLIGHT/ ALBERT TUCKER
Menzies
soldJun. 28, 2023ALBERT TUCKER (1914-1999), Ibis in a Swamp 1964
Est: AUD15,000 - AUD20,000ALBERT TUCKER (1914-1999) Ibis in a Swamp 1964 oil on board 59.0 x 79.0 cm signed lower right: Tucker
Menzies
soldJun. 28, 2023ALBERT TUCKER (1914-1999), Crimson Rosella c1974
Est: AUD30,000 - AUD40,000ALBERT TUCKER (1914-1999) Crimson Rosella c1974 oil on board 61.0 x 81.0 cm signed lower right: Tucker inscribed verso: CRIMSON ROSELLA
Menzies
soldJun. 27, 2023§ ALBERT TUCKER (1914-1999) Landscape with Bird oil on board 25 x 35cm
Est: AUD10,000 - AUD15,000§ ALBERT TUCKER (1914-1999) Landscape with Bird oil on board signed lower right: Tucker 25 x 35cm PROVENANCE: Leonard Joel, Melbourne, 6 June 2017, lot 8A Private collection, Melbourne OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
soldJun. 27, 2023ALBERT TUCKER (1914-1999) (Image of Modern Evil) 1978 mixed media on paper 37 x 44.5cm
Est: AUD12,000 - AUD18,000ALBERT TUCKER (1914-1999) (Image of Modern Evil) 1978 mixed media on paper signed and dated lower right: Tucker '78 37 x 44.5cm PROVENANCE: Gift from Barbara Tucker, 2007 (dedication on backing verso) Private collection, Melbourne OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
soldMay. 23, 2023ALBERT TUCKER, IBIS IN FLIGHT,
Est: AUD15,000 - AUD20,000ALBERT TUCKER (1914 - 1999) IBIS IN FLIGHT synthetic polymer paint on composition board 39.5 x 50.0 cm 43.0 x 53.5 cm (frame) signed lower right: Tucker PROVENANCE Australian Galleries, Melbourne (cat. 1868, as ’Ibis-Bush’) Private collection, Queensland, acquired from the above on 23 April 1974 Thence by descent Private collection, Queensland © The Albert & Barbara Tucker Foundation. Courtesy of Smith and Singer Australia. This work is located in our Melbourne Gallery This work is in very good, stable and near original condition. There are fine and varied drying cracks in the paint film on the beak and legs of the Ibis and to a much lesser extent in the parts of the trunks of the brown tree trunks and green foliage above the bird. This fine cracking is old, stable and not visually disturbing. Under ultraviolet light inspection, there is no evidence of past restoration.
Deutscher and Hackett
soldMay. 15, 2023Albert Tucker Signed
Est: AUD80 - AUD120The Die-Hard by Ivan and Jocelyn Smith and illustrated by Albert Tucker. Signed by all three. Published by Harper & Row, Sydney, 1979. Original cloth in slipcase in excellent condition.
Sydney Rare Book Auctions
soldMay. 03, 2023ALBERT TUCKER, PARROTS IN FLIGHT,
Est: AUD30,000 - AUD40,000ALBERT TUCKER (1914 - 1999) PARROTS IN FLIGHT oil on cardboard 61.0 x 76.0 cm signed lower right: Tucker PROVENANCE Private collection Philip Bacon Galleries, Brisbane Private collection, Perth, acquired from the above in the late 1980s Private collection, Perth, acquired from the above in 1999 Thence by descent Private collection, Perth ESSAY Albert Tucker’s return to Australia in 1960 from an extended time living abroad coincided with a long overdue reassessment and appreciation of his work on home soil, particularly in his hometown of Melbourne. Key to this was the timing of Richard Haese’s seminal exhibition Rebels and Precursors: Aspects of Painting in Melbourne 1937 – 1947, that was shown at the National Gallery of Victoria in 1962. Haese’s exhibition showcased the work of artists such as Arthur Boyd, John Perceval, Sidney Nolan, Danila Vassilieff and Tucker, among others, introducing their work to a new generation of artists, and to a wide public audience. Having come to maturity experiencing the Great Depression and two World Wars, and having long fought for critical recognition and acceptance, Tucker was now regarded as a significant senior artist and truly part of the canon of recent Australian art history. In the mid-1950s Tucker was introduced by Italian artist Alberto Burri to polyvinyl acetate (PVA) – a material that was to revolutionise his practice for a time. As he recalled: ‘I met Alberto Burri in 1953 – 54 because he lived not far from me. He spoke English quite well. When I went around his studio … I noticed he had a whole stack of tins – blue cans – of stuff called Vinivyl. He said: ‘It’s marvellous stuff… it does everything that I want it to do…’ He showed me big built-up masses of it which had dried right out. I tested it and you could mortar to an inch thick and if there was a big enough sheet of it, it could still bend, it had this flexibility and leathery toughness to it…’1 PVA allowed Tucker to build up the surface of his works without using masses of oil paint, which was expensive, and importantly, to bind other materials – sand, earth and wood, for example, into the picture plane. This was transformational, enabling him to bring a tactile sculptural quality to his ‘Antipodean Heads’ and later, to the Australian landscapes that he began to paint after he moved in 1961 to a property in rural Hurstbridge, north-east of Melbourne. The artist’s new-found immersion in the bush enabled him to capture not only the colour and searing light of the Australian landscape, but also its heat and sounds – we can almost hear the screech of the rosellas as they fly overhead. Settling into this new period of artistic notoriety in mid-life, Tucker clearly relished the experimentation and joy of painting that his bush homeland inspired. As he said: ‘I was still in my stage of being completely overawed by the old-fashioned gum tree. After thirteen years absence you realise what a unique, prehistoric beast it is. It had all these marvellous qualities. I had a fresh view of it, and so I started painting gum trees when they were extremely unpopular. They were regarded as an academic idea to be avoided at all costs.’2 1. Albert Tucker interview with James Mollison, 1990 quoted in Fry, G., Albert Tucker, The Beagle Press, Sydney, 2005, p. 136 2. James Gleeson Interviews: Albert Tucker [transcript], 2 May 1979, James Gleeson Oral History Collection, National Gallery of Australia, https://nga.gov.au/media/dd/documents/tucker.pdf, accessed 29 May 2020 KELLY GELLATLY © The Albert & Barbara Tucker Foundation. Courtesy of Smith and Singer Australia.
Deutscher and Hackett
soldMay. 03, 2023ALBERT TUCKER, SELF PORTRAIT, 1948
Est: AUD30,000 - AUD40,000ALBERT TUCKER (1914 - 1999) SELF PORTRAIT, 1948 oil pastel, synthetic polymer paint and gouache on cardboard 50.5 x 37.0 cm (sight) signed and dated lower right: Tucker / 1948 PROVENANCE Estate of Albert Tucker, Melbourne (label attached verso, no. 30107) Thence by descent Barbara Tucker, Melbourne Sotheby's, Sydney, 27 August 2013, lot 6 Private collection, Sydney EXHIBITED Albert Tucker: Works on Paper 1928–1978, Tolarno Galleries, Melbourne, 25 October – 12 November 1978, cat. 94 Albert Tucker: The Endurance: of the Human Spirit, Lauraine Diggins Fine Art, Melbourne, 1 March – 1 April 2000, cat. 10 Meeting a Dream: Albert Tucker in Paris 1948–1952, Heide Museum of Modern Art, Melbourne, 18 July – 5 November 2006 LITERATURE Harding, L., Meeting a Dream: Albert Tucker in Paris 1948–1952, Heide Museum of Modern Art, Melbourne, p. 53 (illus.) ESSAY In an interview with fellow artist James Gleeson in 1979, Albert Tucker reflected on the challenges of describing his own appearance in visual form, saying ‘Yes, it is very hard dealing with one’s own image… One gets trapped in a curious delusional state’.1 Despite these fears, Tucker’s self portraits speak honestly and directly of their subject at particular times in his life. The delicately painted Self-Portrait, 1937 (National Gallery of Australia), for example, depicts a young novice, serious and wide-eyed. In Self, 1983 (National Gallery of Victoria), a painting made almost fifty years later – by which time Tucker was a highly respected senior figure with a firm place in the history of twentieth century Australian art – we witness a dramatic transformation of attitude, appearance and painterly confidence. Creating self portraits throughout his career, Tucker was motivated in part by the opportunity that this subject presented for self-analysis and expression, and as well as documenting his physical appearance through the years, together, they chart the development of his artistic identity. This 1948 self portrait was painted in Paris, a city which enchanted Tucker with its ‘wide boulevards, open skies, easy relaxed people and… the impossible gardens of Versailles’.2 Rather than presenting a recognisable image of the artist, it discards the traditions of naturalistic representation and adopts instead, a bold Cubist approach, fragmenting the human form into a series of interconnected abstract shapes. Outlined by strong painted lines, these shapes allow various perspectives of the subject to be combined into one image, facilitating the rendering of a three-dimensional subject in two dimensions. Texturally rich, the image is enlivened by a combination of painting and drawing media – oil pastel, gouache and synthetic polymer paint – and their lively, expressive application across the surface of the work. The use of simplified shapes to represent aspects of the human form was not entirely new to Tucker’s work. His renowned Images of Modern Evil series, produced during the mid-1940s, had also utilised this approach and the elegant red lips of this self portrait (echoed by the band of blocky, white teeth below), hark back to the crescent mouth – also typically coloured red – which is such a distinctive element of those now iconic images. Like all Australian artists of his generation, Tucker had seen very little modern art and his knowledge of contemporary European painting was drawn primarily from books and magazines. But in Paris he encountered exhibition after exhibition, and this experience, he said, threw him ‘into a tailspin of awe [and] filled this screaming hunger… I’d had all my life.’3 The influence of Picasso is strong in this painting and indeed, in much of Tucker’s work from this time. Describing the Spanish master as ‘everything and more than we could have hoped … there is no one else anywhere near him’4, Tucker later observed that, ‘When one deals with a distortion, it’s impossible to avoid Picasso because of the way he… disintegrated the image, pulled it completely to pieces and kept putting it back together in different ways.’5 1. Tucker, A., interviewed by Gleeson, J., 2 May 1979, National Gallery of Australia Research Library, https://nga.gov.au/Research/Gleeson/pdf/Tucker.pdf, accessed 20 February 2023, p. 6 2. Tucker to John and Sunday Reed, Sidney Nolan and Sweeney Tucker, 14 February 1948, Barrett Reid papers, State Library of Victoria, quoted in Harding, L., Meeting a Dream: Albert Tucker in Paris 1948-1952, Heide Museum of Modern Art, Melbourne, 2006, p. 26 3. Tucker, A., interviewed by Blackman, B., 14 July 1988, quoted in Burke, J., Australian Gothic: A Life of Albert Tucker, Random House, North Sydney, 2003, p. 302 4. Tucker, 1948, op. cit., p. 31 5. Harding, L., ‘Re-picturing the Modern World 1940 – 1949’ in Harding, L. & Cramer, S., Cubism and Australian Art, The Miegunyah Press, Carlton, 2009, p. 119 KIRSTY GRANT © The Albert & Barbara Tucker Foundation. Courtesy of Smith and Singer Australia.
Deutscher and Hackett
soldMay. 02, 2023ALBERT TUCKER 1914-1999 Self Portrait 1982 synthetic polymer paint and metal on card
Est: AUD8,000 - AUD12,000ALBERT TUCKER 1914-1999 Self Portrait 1982 synthetic polymer paint and metal on card signed and dated 'Tucker '82' lower right 36.5 x 26 cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Albert & Barbara Tucker Foundation, Melbourne, acquired from the above
Smith & Singer
soldMay. 02, 2023ALBERT TUCKER 1914-1999 John Batman Encounters Eliza Callaghan 1971 synthetic polymer paint on composition board
Est: AUD100,000 - AUD140,000ALBERT TUCKER 1914-1999 John Batman Encounters Eliza Callaghan 1971 synthetic polymer paint on composition board signed and dated 'Tucker 71' lower right; inscribed 'JOHN BATMAN ENCOUNTERS ELIZA CALLAGHAN' verso 71.5 x 91.5 cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Australian and International Fine Art, Bonhams & Goodman, Melbourne, 23 April 2008, lot 68, illustrated Private Collection, Sydney, acquired from the above Smith & Singer (trading as Sotheby's Australia) Selwyn and Renata Litton, Sydney, acquired from the above on 12 December 2011
Smith & Singer
soldMay. 02, 2023ALBERT TUCKER 1914-1999 Horned Entity 1968 synthetic polymer paint on composition board
Est: AUD60,000 - AUD80,000ALBERT TUCKER 1914-1999 Horned Entity 1968 synthetic polymer paint on composition board signed and dated 'Tucker '68' lower left; dated and inscribed 'HORNED ENTITY' / 1968' verso 61 x 76 cm PROVENANCE Albert Tucker, Melbourne Barbara Tucker, Melbourne, acquired from the above Albert & Barbara Tucker Foundation, Melbourne, acquired from the above
Smith & Singer
soldMar. 21, 2023ALBERT TUCKER (1914-1999) Parrot and Bush II 1965 oil on board
Est: AUD25,000 - AUD30,000ALBERT TUCKER (1914-1999) Parrot and Bush II 1965 oil on board signed and dated lower left: Tucker 65 titled verso 59 x 74cm PROVENANCE: Art Galleries Schubert, Queensland (label verso) Anthea Polson Art, Queensland (label verso) Private collection, Melbourne OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
soldMar. 21, 2023ALBERT TUCKER (1914-1999) Parrot in Flight gouache and mixed media on paper laid on board
Est: $10,000 - $15,000ALBERT TUCKER (1914-1999) Parrot in Flight gouache and mixed media on paper laid on board signed lower right: Tucker 24.5 x 35cm PROVENANCE: Andrew Ivanyi Galleries, Melbourne 1981 Private collection, Melbourne OTHER NOTES: © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
Leonard Joel
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