Loading Spinner

Fred (1927) Williams Sold at Auction Prices

Painter, b. 1927 - d. 1982

See Artist Details

0 Lots

Sort By:

Categories

                Auction Date

                Seller

                Seller Location

                Price Range

                to
                • FRED WILLIAMS, 1927 - 1982, You Yangs Pond, 1967, decorative print, 49 x 49 cm. (19.2 x 19.2 in.), frame: 70 x 70 x 2 cm. (27.5 x 27.5 x 0.7 in.)
                  Apr. 10, 2024

                  FRED WILLIAMS, 1927 - 1982, You Yangs Pond, 1967, decorative print, 49 x 49 cm. (19.2 x 19.2 in.), frame: 70 x 70 x 2 cm. (27.5 x 27.5 x 0.7 in.)

                  Est: $150 - $250

                  FRED WILLIAMS 1927 - 1982 You Yangs Pond, 1967 decorative print signed in print lower centre

                  Lawsons
                • FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm
                  Mar. 28, 2024

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm

                  Est: $1,800 - $2,800

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 signed lower right: Fred Williams editioned lower left 25.5 x 20cm PROVENANCE: Private collection, Melbourne OTHER NOTES: Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne. RELATED WORK: Fred Williams, Sketch Portrait of David Aspden 1975, oil on canvas, 106.7 x 91.5cm, The Collection of the National Portrait Gallery, Canberra. "Fred Williams and his wife Lyn played hosts to David Aspden and his family while they were in Melbourne for an exhibition of Aspden's work. Fred Williams painted Aspden's portrait in a single morning, and made no changes later. Patrick McCaughey writes that like Williams' other portraits, it was more a gesture of friendship than a work destined for exhibition. Yet, he asserts, the ‘direct and unselfconscious ease of David Aspden makes it one of the small masterpieces of Williams' informal portraiture'." (National Portrait Gallery, Canberra) © Fred Williams/Copyright Agency, 2023

                  Leonard Joel
                • FRED WILLIAMS (1927-1982), Ian Armstrong at Wedderburn 1971
                  Mar. 27, 2024

                  FRED WILLIAMS (1927-1982), Ian Armstrong at Wedderburn 1971

                  Est: $18,000 - $24,000

                  PROPERTY FROM THE COLLECTION OF PROFESSOR JOHN ROBERTS AM, SYDNEY FRED WILLIAMS (1927-1982) Ian Armstrong at Wedderburn 1971 oil on canvas 30.5 x 25.0 cm; 55.0 x 49.5 cm (framed) signed lower right: Fred Williams.

                  Menzies
                • FRED WILLIAMS (1927-1982), Saplings 1959
                  Mar. 27, 2024

                  FRED WILLIAMS (1927-1982), Saplings 1959

                  Est: $50,000 - $70,000

                  PROPERTY FORMERLY FROM THE COLLECTION OF PRO HART MBE, NEW SOUTH WALES FRED WILLIAMS (1927-1982) Saplings 1959 oil on board 52.0 x 42.0 cm; 92.5 x 82.5 cm (framed) signed and dated lower right: Fred Williams 59

                  Menzies
                • FRED WILLIAMS (1927-1982), Carp Kite over You Yangs 1970
                  Mar. 27, 2024

                  FRED WILLIAMS (1927-1982), Carp Kite over You Yangs 1970

                  Est: $28,000 - $35,000

                  PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE FRED WILLIAMS (1927-1982) Carp Kite over You Yangs 1970 gouache on paper 50.0 x 44.0 cm (irreg.); 76.0 x 70.0 cm (framed) signed lower centre: Fred Williams bears inscription on label attached verso: Cape Kite over You Yangs./ Painted on site June 20th 1970/ on a picnic with Lynne [sic], the/ Williams children and the/ Chapman Family. Artistry Fine Art Gallery, Melbourne, label attached verso

                  Menzies
                • FRED WILLIAMS, 1927 - 1982, You Yangs Pond, 1967, decorative print, 49 x 49 cm. (19.2 x 19.2 in.), frame: 70 x 70 x 2 cm. (27.5 x 27.5 x 0.7 in.)
                  Mar. 20, 2024

                  FRED WILLIAMS, 1927 - 1982, You Yangs Pond, 1967, decorative print, 49 x 49 cm. (19.2 x 19.2 in.), frame: 70 x 70 x 2 cm. (27.5 x 27.5 x 0.7 in.)

                  Est: $200 - $300

                  FRED WILLIAMS 1927 - 1982 You Yangs Pond, 1967 decorative print signed in print lower centre

                  Lawsons
                • Fred Williams, (1927-1982), Murray River Panels, 1975, lithograph on paper, 56.5 x 76 cm unframed
                  Mar. 12, 2024

                  Fred Williams, (1927-1982), Murray River Panels, 1975, lithograph on paper, 56.5 x 76 cm unframed

                  Est: $300 - $500

                  Fred Williams (1927-1982) Murray River Panels, 1975 lithograph on paper edition: 185/250, numbered, signed and dated below image '185/250, Fred Williams, '75'

                  Shapiro Auctioneers
                • FRED WILLIAMS, 1927-1982, You Yangs, decorative print, 49 x 49 cm. (19.2 x 19.2 in.), frame: 70 x 70 x 2 cm. (27.5 x 27.5 x 0.7 in.)
                  Feb. 21, 2024

                  FRED WILLIAMS, 1927-1982, You Yangs, decorative print, 49 x 49 cm. (19.2 x 19.2 in.), frame: 70 x 70 x 2 cm. (27.5 x 27.5 x 0.7 in.)

                  Est: $250 - $350

                  FRED WILLIAMS 1927-1982 You Yangs decorative print signed in print

                  Lawsons
                • FRED WILLIAMS, YOU YANGS LANDSCAPE NUMBER 1, 1963-1964
                  Feb. 13, 2024

                  FRED WILLIAMS, YOU YANGS LANDSCAPE NUMBER 1, 1963-1964

                  Est: $3,000 - $5,000

                  FRED WILLIAMS (1927 - 1982) YOU YANGS LANDSCAPE NUMBER 1, 1963-1964 etching, drypoint and mezzotint on paper 27.0 x 30.0 cm (image) 79.0 x 64.0 cm (frame) edition: 34/45 signed and numbered below image PROVENANCE Deutscher Fine Art, Melbourne (label attached verso) Private collection, Melbourne Thence by descent Private collection, Melbourne Thence by descent Private collection, Melbourne LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 206, pl. 65, pp. 77 (illus., another example), 125 (illus., another example) RELATED WORK Other examples from this edition are held in the collections of the National Gallery of Victoria, Melbourne and the Tate Gallery, London © Estate of Fred Williams/Copyright Agency 2024 This work is located in our Melbourne Gallery

                  Deutscher and Hackett
                • Fred Williams (1927-1982)
                  Feb. 07, 2024

                  Fred Williams (1927-1982)

                  Est: $1,000 - $2,000

                  Murray River Panels, 1975 lithograph on paper, edition: 187/250, numbered, signed and dated below image '187/250, Fred Williams, '75'

                  Shapiro Auctioneers
                • Fred Williams (1927-1982)
                  Feb. 07, 2024

                  Fred Williams (1927-1982)

                  Est: $1,000 - $2,000

                  Murray River Panels, 1975 lithograph on paper, edition: 186/250, numbered, signed and dated below image '186/250, Fred Williams, '75'

                  Shapiro Auctioneers
                • Fred Williams (1927-1982)
                  Feb. 07, 2024

                  Fred Williams (1927-1982)

                  Est: $1,000 - $2,000

                  Murray River Panels, 1975 lithograph on paper, edition: 185/250, numbered, signed and dated below image '185/250, Fred Williams, '75'

                  Shapiro Auctioneers
                • Fred Williams (1927-1982)
                  Feb. 07, 2024

                  Fred Williams (1927-1982)

                  Est: $800 - $1,200

                  Murray River Panels, 1975 lithograph on paper, edition: 184/250, numbered, signed and dated below image '184/250, Fred Williams, '75'

                  Shapiro Auctioneers
                • FRED WILLIAMS (1927 - 1982) Saplings (State IV), 1962 aquatint, drypoint etching and copper engraving, ed. 3/5 24.5 x 14.5 cm (frame...
                  Dec. 14, 2023

                  FRED WILLIAMS (1927 - 1982) Saplings (State IV), 1962 aquatint, drypoint etching and copper engraving, ed. 3/5 24.5 x 14.5 cm (frame...

                  Est: $3,000 - $5,000

                  FRED WILLIAMS (1927 - 1982) Saplings (State IV), 1962 aquatint, drypoint etching and copper engraving, ed. 3/5 24.5 x 14.5 cm (frame: 64 x 51 x 3 cm) signed lower right, Australian Galleries label verso

                  Lawsons
                • FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm
                  Dec. 14, 2023

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm

                  Est: $2,000 - $3,000

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 signed lower right: Fred Williams editioned lower left 25.5 x 20cm PROVENANCE: Private collection, Melbourne OTHER NOTES: Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne. RELATED WORK: Fred Williams, Sketch Portrait of David Aspden 1975, oil on canvas, 106.7 x 91.5cm, The Collection of the National Portrait Gallery, Canberra. "Fred Williams and his wife Lyn played hosts to David Aspden and his family while they were in Melbourne for an exhibition of Aspden's work. Fred Williams painted Aspden's portrait in a single morning, and made no changes later. Patrick McCaughey writes that like Williams' other portraits, it was more a gesture of friendship than a work destined for exhibition. Yet, he asserts, the ‘direct and unselfconscious ease of David Aspden makes it one of the small masterpieces of Williams' informal portraiture'." (National Portrait Gallery, Canberra) © Fred Williams/Copyright Agency, 2023

                  Leonard Joel
                • FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm
                  Dec. 07, 2023

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm

                  Est: $3,000 - $4,000

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 signed lower right: Fred Williams editioned lower left 25.5 x 20cm PROVENANCE: Private collection, Melbourne OTHER NOTES: Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne. RELATED WORK: Fred Williams, Sketch Portrait of David Aspden 1975, oil on canvas, 106.7 x 91.5cm, The Collection of the National Portrait Gallery, Canberra. "Fred Williams and his wife Lyn played hosts to David Aspden and his family while they were in Melbourne for an exhibition of Aspden's work. Fred Williams painted Aspden's portrait in a single morning, and made no changes later. Patrick McCaughey writes that like Williams' other portraits, it was more a gesture of friendship than a work destined for exhibition. Yet, he asserts, the ‘direct and unselfconscious ease of David Aspden makes it one of the small masterpieces of Williams' informal portraiture'." (National Portrait Gallery, Canberra) © Fred Williams/Copyright Agency, 2023

                  Leonard Joel
                • FRED WILLIAMS (1927-1982), The Block, Deschamps Hill, Lilydale 1948
                  Nov. 29, 2023

                  FRED WILLIAMS (1927-1982), The Block, Deschamps Hill, Lilydale 1948

                  Est: $12,000 - $16,000

                  FRED WILLIAMS (1927-1982) The Block, Deschamps Hill, Lilydale 1948 oil on canvas 58.5 x 72.0 cm; 73.0 x 87.0 cm (framed) signed and dated upper left: Fred Williams 48

                  Menzies
                • FRED WILLIAMS (1927-1982), Blue Figure in Landscape 1947
                  Nov. 29, 2023

                  FRED WILLIAMS (1927-1982), Blue Figure in Landscape 1947

                  Est: $6,000 - $9,000

                  FRED WILLIAMS (1927-1982) Blue Figure in Landscape 1947 gouache on paper 29.5 x 43.0 cm; 89.5 x 114.5 cm (framed) signed lower right: F WILLIAMS

                  Menzies
                • FRED WILLIAMS (1927-1982), The Old Fir, Lilydale 1946
                  Nov. 29, 2023

                  FRED WILLIAMS (1927-1982), The Old Fir, Lilydale 1946

                  Est: $8,000 - $12,000

                  FRED WILLIAMS (1927-1982) The Old Fir, Lilydale 1946 gouache on paper 41.0 x 53.0 cm; 78.0 x 88.0 cm (framed)

                  Menzies
                • FRED WILLIAMS (1927-1982), Landscape, Lysterfield 1968
                  Nov. 29, 2023

                  FRED WILLIAMS (1927-1982), Landscape, Lysterfield 1968

                  Est: $60,000 - $80,000

                  FRED WILLIAMS (1927-1982) Landscape, Lysterfield 1968 gouache on paper 56.5 x 76.0 cm; 78.5 x 100.5 cm (framed) signed lower left: Fred Williams.

                  Menzies
                • Fred Williams (1927-1982) Golden Landscape, 1975
                  Nov. 28, 2023

                  Fred Williams (1927-1982) Golden Landscape, 1975

                  Est: $300,000 - $400,000

                  Fred Williams (1927-1982) Golden Landscape, 1975 signed lower left: 'Fred Williams' oil on canvas 101.5 x 101.5cm (39 15/16 x 39 15/16in).

                  Bonhams
                • Fred Williams (1927-1982) After the Bush Fire, Sherbrooke, c.1960
                  Nov. 28, 2023

                  Fred Williams (1927-1982) After the Bush Fire, Sherbrooke, c.1960

                  Est: $22,000 - $25,000

                  Fred Williams (1927-1982) After the Bush Fire, Sherbrooke, c.1960 signed lower left: 'Fred Williams' gouache on paper 36.0 x 48.0cm (14 3/16 x 18 7/8in).

                  Bonhams
                • FRED WILLIAMS, SUMMER LANDSCAPE, LYSTERFIELD, 1973
                  Nov. 22, 2023

                  FRED WILLIAMS, SUMMER LANDSCAPE, LYSTERFIELD, 1973

                  Est: $100,000 - $150,000

                  FRED WILLIAMS (1927 - 1982) SUMMER LANDSCAPE, LYSTERFIELD, 1973 oil on canvas 46.0 x 61.0 cm signed lower left: Fred Williams. inscribed on stretcher verso: 196 PROVENANCE Estate of the artist (LW196) Rex Irwin Art Dealer, Sydney Private collection, United Kingdom, acquired from the above in 1991 EXHIBITED Fred Williams: Small Pictures, Rex Irwin Art Dealer, 7 May - 15 June 1991, cat. 15 (as ‘Summer Landscape, Lysterfield’, 1972) We are grateful to Lyn Williams for her assistance with this catalogue entry. Recent research of the artist's diaries has now recorded this work in the Williams database as Summer Landscape, 1973. ESSAY The 1960s began optimistically for Fred Williams. In 1963 he was invited to join the stable of artists represented by Sydney art dealer, Rudy Komon, and the monthly retainer he received gave Williams and his wife, Lyn, the financial confidence to buy a house at Upwey in the Dandenong Ranges. That same year Williams was awarded the Helena Rubinstein Travelling Art Scholarship, spending seven months in Europe in 1964. The following year was also significant – ‘for the first time [Williams] was able to paint full-time. The concentration and energy, and the time he now brought to his art, resulted in four years of astonishing variety and contrast in his painting.’1   From the beginning of his career Williams drew on his experience of the surrounding world as the source of subject matter for his art and the landscape of Upwey naturally featured in his paintings at this time. From mid-1965, nearby Lysterfield, which was just a short drive from his home, became a regular destination for outdoor painting trips. James Mollison, the artist’s great friend who accompanied him on some of these excursions, described the area at the time as ‘sparsely settled country, with gently rolling hills and scrubby paddocks – fenced, but otherwise showing few signs of habitation.’2 It was the perfect subject for an artist who used his immediate surroundings as a jumping off point for images which distilled the landscape to its essential elements, and in the process, created archetypal images which have become part of our collective visual memory.   The broad open country depicted in Summer Landscape, Lysterfield, 1972 is divided into three horizontal bands. The deep foreground in the lower section of the picture is painted in warm, variegated tones and enlivened by a series of short, predominantly vertical brushstrokes, which represent sparse, low grassy growth around pools of water. The middle band, with a bright, sandy-coloured ground, sits below a decisive horizon line. The top third of the picture is devoted to the depiction of the sky and painted in a moody grey, captures the familiar heat, humidity and stillness of high summer in Australia. The hieroglyphic-like marks that Williams used to describe the scrubby growth across the hillside, and the trees lining the horizon, are distinctively his, and typical of what Patrick McCaughey described as ‘his refined method of painting’ which was by this time, ‘as spontaneous as handwriting.’3 What particularly stands out in this painting however is Williams’ great skill as a colourist. During the late 1960s and into the 1970s he expanded his palette so that it included a range of vivid and often unmixed colours, and this work demonstrates his ability to merge the subtle, earthy tones of the underpainting – which are so readily associated with the Australian landscape – with touches of brilliant colour, especially yellow and orange, bringing the image to life and engaging the viewer in the living energy and rich detail of the scene.   1. McCaughey, P., Fred Williams 1927 – 1982, Murdoch Books, Sydney, revised edition, 1996, p. 166  2. Mollison, J., Fred Williams: A Singular Vision, Australian National Gallery and Oxford University Press, Canberra, 1989, p. 100 3. McCaughey, op. cit., p. 184   KIRSTY GRANT © Estate of Fred Williams/Copyright Agency 2023

                  Deutscher and Hackett
                • FRED WILLIAMS 1927-1982 Treescape (1965) gouache on paper 50.6 x 73.4 cm
                  Nov. 21, 2023

                  FRED WILLIAMS 1927-1982 Treescape (1965) gouache on paper 50.6 x 73.4 cm

                  Est: $50,000 - $70,000

                  FRED WILLIAMS 1927-1982 Treescape (1965) gouache on paper signed 'Fred Williams.' lower right 50.6 x 73.4 cm PROVENANCE Fred Williams, Melbourne Rudy Komon Art Gallery, Sydney Private Collection, Sydney, acquired from the above

                  Smith & Singer
                • Fred Williams (1927-1982) You Yang Pond, 1963-64
                  Nov. 20, 2023

                  Fred Williams (1927-1982) You Yang Pond, 1963-64

                  Est: $4,000 - $6,000

                  etching and aquatint, edition: 5/65, numbered and signed below image '5/65, Fred Williams'

                  Shapiro Auctioneers
                • FRED WILLIAMS (1927 - 1982) A Knoll in the You Yangs, 1964 etching and aquatint, ed. 26/30 29 x 24 cm (frame: 60 x 53 x 3 cm) signed...
                  Nov. 16, 2023

                  FRED WILLIAMS (1927 - 1982) A Knoll in the You Yangs, 1964 etching and aquatint, ed. 26/30 29 x 24 cm (frame: 60 x 53 x 3 cm) signed...

                  Est: $2,500 - $3,500

                  FRED WILLIAMS (1927 - 1982) A Knoll in the You Yangs, 1964 etching and aquatint, ed. 26/30 29 x 24 cm (frame: 60 x 53 x 3 cm) signed lower right

                  Lawsons
                • FRED WILLIAMS (1927-1982) Wild Dog Creek I lithograph, ed. O.K to print P/P 62 x 46cm
                  Nov. 15, 2023

                  FRED WILLIAMS (1927-1982) Wild Dog Creek I lithograph, ed. O.K to print P/P 62 x 46cm

                  Est: $3,000 - $4,000

                  FRED WILLIAMS (1927-1982) Wild Dog Creek I lithograph, ed. O.K to print P/P signed lower right: Fred Williams titled lower centre editioned lower left 62 x 46cm PROVENANCE: Neil Leveson, Melbourne Thence by descent EXHIBITIONS: Fred Williams: A Retrospective, National Gallery of Australia, Canberra, 7 November 1987 - 31 January 1988 (then touring) (another example) Fred Williams Painter Etcher, National Gallery of Australia, Canberra, 7 July - 10 September 1981 (another example) OTHER NOTES: Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; Art Gallery of South Australia, Adelaide; Queensland Art Gallery of Modern Art, Brisbane; and Wollongong Art Gallery, Wollongong © Fred Williams/Copyright Agency, 2023

                  Leonard Joel
                • FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm
                  Nov. 15, 2023

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 25.5 x 20cm

                  Est: $4,000 - $5,000

                  FRED WILLIAMS (1927-1982) Portrait of David Aspden 1975 drypoint etching ed. 5/10 signed lower right: Fred Williams editioned lower left 25.5 x 20cm PROVENANCE: Private collection, Melbourne OTHER NOTES: Another example of this print is held in the collection of the National Gallery of Victoria, Melbourne. RELATED WORK: Fred Williams, Sketch Portrait of David Aspden 1975, oil on canvas, 106.7 x 91.5cm, The Collection of the National Portrait Gallery, Canberra. "Fred Williams and his wife Lyn played hosts to David Aspden and his family while they were in Melbourne for an exhibition of Aspden's work. Fred Williams painted Aspden's portrait in a single morning, and made no changes later. Patrick McCaughey writes that like Williams' other portraits, it was more a gesture of friendship than a work destined for exhibition. Yet, he asserts, the ‘direct and unselfconscious ease of David Aspden makes it one of the small masterpieces of Williams' informal portraiture'." (National Portrait Gallery, Canberra) © Fred Williams/Copyright Agency, 2023

                  Leonard Joel
                • Fred Williams (1927-1982), 'The First Rothbury Label', c.1970
                  Nov. 11, 2023

                  Fred Williams (1927-1982), 'The First Rothbury Label', c.1970

                  Est: $400 - $600

                  Mechanical reproduction print on paper, approx. 34 x 48cm (image), 56 x 66.5cm (frame). Signed bottom right, editioned '3/25'. Foxing evident. Available for local pickup, otherwise courier to be arranged and paid for by bidder. Similar works from this series are held in the collections of the National Gallery of Victoria and the Art Gallery of South Australia. 

                  Roxbury's Auction House
                • FRED WILLIAMS (1927-1982) Kosciusko Landscape c.1975-76 oil on canvas 90.5 x 106cm
                  Oct. 24, 2023

                  FRED WILLIAMS (1927-1982) Kosciusko Landscape c.1975-76 oil on canvas 90.5 x 106cm

                  Est: $180,000 - $220,000

                  FRED WILLIAMS (1927-1982) Kosciusko Landscape c.1975-76 oil on canvas signed lower left: Fred Williams 90.5 x 106cm PROVENANCE: Rudy Komon Art Gallery, Sydney 1981 (label verso, stock no. 4316) Corporate collection, Sydney OTHER NOTES: We are grateful to Lyn Williams for her assistance with this catalogue entry. RELATED WORKS: Mountain Creek, Mount Kosciusko 1976, oil on canvas, 182.5 x 111.7cm, Sotheby's, Sydney, 27 August 2019, lot 11, sold for $1,708,000 IBP Kosciusko 1976, oil on canvas, 91.4 x 106.7cm, Rudy Komon Art Gallery stock no. 4315, Deutscher~Menzies, Melbourne, 21 August 2000, lot 51 Mt Kosciusko 1975-76, oil on canvas, 152.5 x 185cm, The Collection of Rupert Murdoch, illustrated in P. McCaughey, Fred Williams, Bay Books, Sydney, 1980, pl.180, p.288 Mt Kosciusko 1975, gouache on paper, 56 x 77.4cm, The Collection of the National Gallery of Australia, Canberra Fred Williams pioneered a new artistic vision of the Australian landscape and is considered to be one of the most important Australian artists of the twentieth century. Whilst many of Williams' representations of the Australian landscape encapsulate its idyllic warmth; a pivotal moment occurred in the mid-1970s when Williams sighted the grandeur of Mount Kosciuszko resulting in a dramatic shift in his work. During the winter of 1975 and again in 1976, Fred Williams made several photographs of Mount Kosciuszko (then spelled Mount Kosciusko, and hereafter in this essay for that reason) from multiple flights over the region. As such, his resultant series of gouaches and oils combined both aerial views together with his plein air perspective from below to transcend traditional perspectives. This series was the first 'view' paintings that Williams ever attempted.(1) The traditional vision of the Australian landscape is perhaps centred on its heat and dryness, but occasionally an artist may take a different approach as seen by both Eugene Von Guerard and Fred Williams. In fact, Von Guerard's own depictions of Mount Kosciusko, notably Mt. Kosciusko housed in the National Gallery of Australia, greatly inspired Williams' own. Von Guerard's paintings served as an inspiring reference point within the realm of romantic art, motivating Williams to break away from his own customary reserve and embark on creating painting infused with expressive awe. As Williams commented, "The shapes of the snow are fascinating & [in] some of the sketches I attempt to do "portraits" of certain areas - the snow areas!"(2). It was the patches of snow that allowed Williams to form inventive shapes less explored in his other landscapes. Just as crucial as Wiliams' shift in form was that of his colour palette. Following the bright and lustrous palette of the Kew Billabong series which preceded it, the Kosciusko series by sharp contrast presented a dark and moody palette with shifting chiaroscuro.(3) This stark and somewhat austere atmosphere introduced a heightened sense of drama to the monumental mountain peak depicted. The immediate shift in colour palette also liberated Williams from his self-imposed constraints regarding the 'picturesque'. In essence, this transformation in Williams' art stemmed from a renewed commitment to bringing life to the landscape through his brush, even as he cast aside previous reservations about contrast and embraced a more intuitive and emotive connection with his subject. Although Williams produced only a handful of paintings of Mount Kosciusko, this series is a testament to the profound and lasting impact this part of the Australian landscape had on Williams' artistic journey. After being in the possession of the respected Rudy Komon Gallery in Sydney, the present lot entered a prominent collection where it has remained ever since. The current auction presents only the second opportunity for the public to acquire this important painting and a rare opportunity to acquire a painting from this significant series which was such a pivotal turning point in Williams' ouevre. Fred Williams' exploration of Mount Kosciusko remains a testament to his ability to capture the diverse and captivating essence of the Australian terrain in his art. Madeleine Norton Head of Decorative Arts and Art, Sydney (1) McCaughey, P., Fred Williams: 1927-1982, Bay Books, Sydney, 1980, p. 287 (2) Hart, D., Fred Williams - Infinite Horizons, National Gallery of Australia, Canberra, 2011, p. 142 (3) Op. cit., McCaughey, p. 287 © Fred Williams/Copyright Agency, 2023

                  Leonard Joel
                • FRED WILLIAMS, SHERBROOKE FOREST NUMBER 1, 1961
                  Oct. 10, 2023

                  FRED WILLIAMS, SHERBROOKE FOREST NUMBER 1, 1961

                  Est: $2,500 - $3,500

                  FRED WILLIAMS (1927 - 1982) SHERBROOKE FOREST NUMBER 1, 1961 drypoint, engraving, aquatint and burnishing on paper 19.0 x 16.5 cm (image) 46.0 x 39.5 cm (frame) edition: 3/9 state: 14/22 signed and numbered below image PROVENANCE Rex Irwin Art Dealer, Sydney, acquired in 2006 (label attached verso) The K.D.H. Ainsworth Collection, Queensland Deutscher and Hackett, Melbourne, 26 March 2014, lot 42 Private collection, Melbourne EXHIBITED Fred Williams, Recent paintings and related etchings, Rex Irwin Art Dealer, Art Sydney 06, RHI and Hordern Pavilion, Sydney, cat. 24 LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 186, pl. 58, pp. 69, 119 (illus., another example) RELATED WORK Sherbrooke Forest number 1, 1961, ed 3/50, drypoint, engraving, aquatint and burnishing, 19.1 x 16.8 cm platemark; 23.7 x 21.3 cm sheet, in the collection of the Art Gallery of New South Wales, Sydney © Estate of Fred Williams/Copyright Agency 2023 This work is located in our Melbourne Gallery

                  Deutscher and Hackett
                • FRED WILLIAMS, FOREST, 1958
                  Oct. 10, 2023

                  FRED WILLIAMS, FOREST, 1958

                  Est: $2,500 - $3,500

                  FRED WILLIAMS (1927 - 1982) FOREST, 1958 etching, aquatint and engraving 13.0 x 14.5 cm (image) 42.0 x 46.0 cm (frame) edition: 2/30 state: 4/4 signed and numbered below image PROVENANCE Rex Irwin Art Dealer, Sydney, acquired 2006 (label attached verso) The K.D.H. Ainsworth Collection, Queensland Deutscher and Hackett, Melbourne, 26 March 2014, lot 43 Private collection, Melbourne, acquired from the above EXHIBITED Fred Williams, Recent paintings and related etchings, Rex Irwin Art Dealer, Art Sydney 06, RHI and Hordern Pavilion, Sydney, cat. 14 LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 170, p. 116 (illus., another example) © Estate of Fred Williams/Copyright Agency 2023 This work is located in our Melbourne Gallery

                  Deutscher and Hackett
                • FRED WILLIAMS, HILLSIDE NUMBER 1, 1965–66
                  Oct. 10, 2023

                  FRED WILLIAMS, HILLSIDE NUMBER 1, 1965–66

                  Est: $2,500 - $3,500

                  FRED WILLIAMS (1927 - 1982) HILLSIDE NUMBER 1, 1965–66 etching, drypoint and mezzotint on paper 20.0 x 21.5 cm (image) 48.0 x 49.5 cm (frame) edition: 6/18 state: 3/3 signed and numbered below image PROVENANCE Nevill Keating Pictures, London, acquired in 2004 The K.D.H. Ainsworth Collection, Queensland Deutscher and Hackett, Melbourne, 26 March 2014, lot 44 Private collection, Melbourne LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 224, p. 129 (illus., another example) © Estate of Fred Williams/Copyright Agency 2023 This work is located in our Melbourne Gallery

                  Deutscher and Hackett
                • FRED WILLIAMS, HILLSIDE II, 1965 – 66
                  Oct. 10, 2023

                  FRED WILLIAMS, HILLSIDE II, 1965 – 66

                  Est: $4,000 - $6,000

                  FRED WILLIAMS (1927 - 1982) HILLSIDE II, 1965 – 66 etching, drypoint and mezzotint on Arches paper 29.0 x 29.0 cm (image) 56.0 x 55.0 cm (frame) edition: 5/18 state: 3/3 signed and numbered below image PROVENANCE Estate of the artist, Melbourne Lyn Williams collection, Melbourne Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Sydney Deutscher and Hackett, Melbourne, 29 August 2012, lot 169 Private collection, Melbourne EXHIBITED Fred Williams Landscapes, Rex Irwin Art Dealer, Sydney, 6 – 31 October 1998, cat. 29 LITERATURE Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 240 (illus. p. 82, pl. 70 1st state), pp. 11, 82, 131-132 Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 94 (illus. 1st state) © Estate of Fred Williams/Copyright Agency 2023 This work is located in our Melbourne Gallery

                  Deutscher and Hackett
                • FRED WILLIAMS (1927 - 1982) Decorative Panel, You Yangs Landscape Number 1, 1965-66 etching, drypoint, flat biting and mezzotint roc...
                  Sep. 21, 2023

                  FRED WILLIAMS (1927 - 1982) Decorative Panel, You Yangs Landscape Number 1, 1965-66 etching, drypoint, flat biting and mezzotint roc...

                  Est: $4,000 - $6,000

                  FRED WILLIAMS (1927 - 1982) Decorative Panel, You Yangs Landscape Number 1, 1965-66 etching, drypoint, flat biting and mezzotint rocker on copper, ed. 8/14 19.5 x 10 cm (frame: 52 x 42 x 3cm) signed lower right

                  Lawsons
                • Frederick Ronald Williams, Australia (1927-1982), Papageno, 1979, The Magic Flute, Lithograph ed. 65/100
                  Sep. 18, 2023

                  Frederick Ronald Williams, Australia (1927-1982), Papageno, 1979, The Magic Flute, Lithograph ed. 65/100

                  Est: $400 - $600

                  Frederick Ronald Williams Australia (1927-1982) Papageno, 1979, The Magic Flute Lithograph ed. 65/100 Signed, titled & dated lower margin ICI Australian Opera Collection Certificate of Authenticity

                  Theodore Bruce
                • FRED WILLIAMS (1927-1982), You Yangs Landscape No. 1
                  Sep. 12, 2023

                  FRED WILLIAMS (1927-1982), You Yangs Landscape No. 1

                  Est: $2,000 - $3,000

                  FRED WILLIAMS (1927-1982) You Yangs Landscape No. 1 etching signed and editioned on margin: Fred Williams / 8/21 26.5 x 16.5cm PROVEANCE Private Collection, Melbourne

                  Gibson's Auctions
                • FRED WILLIAMS, PAPAGENO 1979, LITHOGRAPH ED. 83/100, SIGNED AND DATED LOWER RIGHT, 73 X 53CM, FRAME SIZE: 102 X 81CM
                  Sep. 07, 2023

                  FRED WILLIAMS, PAPAGENO 1979, LITHOGRAPH ED. 83/100, SIGNED AND DATED LOWER RIGHT, 73 X 53CM, FRAME SIZE: 102 X 81CM

                  Est: $400 - $600

                  FRED WILLIAMS, PAPAGENO 1979, LITHOGRAPH ED. 83/100, SIGNED AND DATED LOWER RIGHT, 73 X 53CM, FRAME SIZE: 102 X 81CM

                  Leonard Joel
                • FRED WILLIAMS (1927-1982), Echuca Landscape 1961
                  Aug. 30, 2023

                  FRED WILLIAMS (1927-1982), Echuca Landscape 1961

                  Est: $2,000 - $3,000

                  FRED WILLIAMS (1927-1982) Echuca Landscape 1961 etching 15.5 x 19.0 cm (image); 20.0 x 27.0 cm (sheet) edition: Proof; state: 7/16 signed lower right: Fred Williams. numbered lower left: P.

                  Menzies
                • FRED WILLIAMS 1927-1982 Masons Falls (1981) oil on canvas 182.2 x 151.8 cm
                  Aug. 23, 2023

                  FRED WILLIAMS 1927-1982 Masons Falls (1981) oil on canvas 182.2 x 151.8 cm

                  Est: $2,000,000 - $3,000,000

                  FRED WILLIAMS 1927-1982 Masons Falls (1981) oil on canvas signed 'Fred Williams.' lower left 182.2 x 151.8 cm PROVENANCE Fred Williams, Melbourne The Estate of Fred Williams, Melbourne (LW 1010) (label verso) Australian Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 15 August 1989

                  Smith & Singer
                • FRED WILLIAMS, LANDSCAPE, 1967
                  Aug. 16, 2023

                  FRED WILLIAMS, LANDSCAPE, 1967

                  Est: $35,000 - $45,000

                  FRED WILLIAMS (1927 - 1982) LANDSCAPE, 1967 gouache on paper on composition board 54.0 x 76.0 cm (sheet) signed and dated lower left: Fred Williams 67 PROVENANCE Private collection Leonard Joel, Melbourne, 22 November 1994, lot 94 Private collection, Melbourne We are grateful to Lyn Williams for her assistance with this catalogue entry. ESSAY Williams’ distinctive interpretations of the Australian landscape can be read as authoritative exercises in form and gesture, with the barest of markings summarily depicting its unique contours. His rejection of sentimental evocations that were so popular with the Heidelberg school allowed a development of an alternative, semi-abstract vision of the landscape which raises invention and subtlety of vision to a level of singularity that has led us to see the Australian landscape with different eyes. Williams reached his maturity as a painter during the mid-1960s, with his Upwey Series and the preceding You Yangs works attracting unprecedented levels of critical acclaim and positive public reception. Articulating their significance both within Williams’ oeuvre and the broader context of Australian landscape painting, Patrick McCaughey wrote, ‘They were clearly paintings of substance, well made and fully fashioned and yet they still allowed [his] touch to operate. They made of the drab and featureless bush, a landscape of enduring, even monumental proportions and dignity. They revalued Australian landscape painting… and renewed hope in the genre.’1   Thus consolidating and refining his stylistic devices to a rapid shorthand, from 1967 onwards Williams increased the frequency of his outdoor sketching trips, particularly around Lysterfield where he was living at the time, and beyond to Cottles Bridge. The gouache sketches completed en plein air during these expeditions provided important source material, and a passage between a literal impression of the landscape dotted with eucalypts and its further translation into the iconic Williams reductive script, usually in oil paint on canvas.   From this crucible of formal innovation comes Landscape, 1967. Like many other gouaches and paintings from this period, it has a tripartite division, concentrating much of his gestural information in a central band across the paper – the rolling crest of a hill with a crown of trees protruding from the horizon, and pale blue sky beyond. Williams worked in various media throughout his career – the technical possibilities and creative innovations of one invariably influencing his work in another. A quick-drying medium composed of watercolour mixed with white pigment (which renders it opaque), gouache was his preferred medium for painting outdoors during this time. Yet as this example demonstrates brilliantly, in addition to its convenience and ease of use, in Williams’ hands, gouache also offered something of the richness of oil paint in terms of the pictorial possibilities and textural manipulation it allowed.   Significantly, in 1971, Williams devoted an entire exhibition to ‘watercolours’ which, held at the Newcastle Art Gallery before touring, featured fifty works selected by the artist from his own collection from the years 1957 to 1971. Indeed, Williams often exhibited gouaches alongside his oil paintings, and their importance in his oeuvre has continued to be recognised in later major shows including the retrospective Fred Williams: Infinite Horizons, organised by the National Gallery of Australia in 2011.   1. McCaughey, P.,  Fred Williams  1927 – 1982, Murdoch Books, Sydney, 1996, p. 170 VERONICA ANGELATOS © Estate of Fred Williams/Copyright Agency 2023

                  Deutscher and Hackett
                • FRED WILLIAMS, COOTAMUNDRA WATTLES - BOTANIST'S GARDEN, 1975
                  Aug. 16, 2023

                  FRED WILLIAMS, COOTAMUNDRA WATTLES - BOTANIST'S GARDEN, 1975

                  Est: $380,000 - $480,000

                  FRED WILLIAMS (1927 - 1982) COOTAMUNDRA WATTLES - BOTANIST'S GARDEN, 1975 oil on canvas 96.0 x 106.5 cm signed lower right: Fred Williams. bears inscription on stretcher bar verso: COOTAMUNDRA WATTLES, BOTANIST’S GARDEN 1975 PROVENANCE Estate of the artist Lyn Williams, Melbourne Henry Krongold, Melbourne, acquired from the above in September 1989 The Estate of Paul Krongold, Melbourne RELATED WORK St. Andrews (The Botanist’s Garden), 1975, oil on canvas, 102.0 x 101.5 cm, private collection, Melbourne ESSAY In mid-1975, Fred Williams held two major solo exhibitions, his first in both Sydney and Melbourne since the late 1960s, displaying his full painterly might in a vast array of turbulent new paintings, and conveying old and new motifs in a vibrant unmixed chromatic palette hitherto unseen in his work. Reflecting on the impact of these rich and varied exhibitions, Margaret Plant wrote ‘Williams has, I believe, made a conscious effort to expand his own sense of his work: to stop the edges going soft. I see this rebellion as a rare and important example of an Australian artist, able to undo the safety net of his art: to paint dangerously’.1 Although absent from these exhibitions, having remained in the artist’s own collection and purchased directly from the artist’s widow in 1989, Cootamundra Wattles – Botanist’s Garden belongs to this radical and riotous group of works in which Williams allowed himself to express his delight in the landscape.   Around this time Williams took pains to qualify his pragmatic and impersonal distance from the Australian landscape, explaining “I don’t like the bush the way Clif [Clifton Pugh] does […] I couldn’t say I loved the bush… I simply want to paint pictures from it”2. The common flowering acacia tree nevertheless held the artist in a certain enduring thrall, resulting in masterpieces spanning a period of ten years (1969 – 1979), including Cootamundra Wattles. Painted en plein air with a high-key palette dominated by contrasting deep violets and rich yellows, this painting is an elegy to a fragile ecosystem, in turn neglected and destroyed by human intervention. Boldly blooming in the face of adversity, the titular Cootamundra wattle trees dance through the landscape in an accented dotted frieze, embodying the potential for regeneration.   A joyous harbinger of spring across Australia’s east coast, the wattle tree first features in Williams’ extensive diaries in the winter of 1969, during the course of a painting trip to Dunmoochin, Cottles Bridge, alongside Clifton Pugh and John Olsen. Although fascinated and clearly excited about the prospect of ‘work[ing] from them as they mature’3, the artist did not return to this subject again until 1974. Having travelled widely throughout Australia in search of motifs in the intervening years, from the rainforests of Queensland to the Bass Strait and the Murray River in South Australia, Fred Williams, from early 1974, contented himself with shorter, local painting excursions with his artist friend Fraser Fair, both packed into a Ford Galaxy station wagon. Cootamundra Wattles, painted on a canvas of almost a metre squared, was the largest format able to fit in the back of Fair’s car 4, and presents an ambitious panoramic view of a specific location within their travels.   Errant in the area of Cottles Bridge, Fair and Williams stumbled upon an overgrown botanist’s garden in St Andrews, almost a century old, with a ‘remarkable coll[ection] of wattles and shrubs’. Its impending demolition prompted the artist to wonder, aghast, ‘it will only take an hr for a bull-dozer to get rid of it?’5. Stimulated to commemorate in paint this dense native garden, dominated by Cootamundra wattles (acacia baileyana), Williams recorded this landscape with a small suite of paintings. This series included Botanist’s Garden, 1975 and St Andrews (The Botanist’s Garden), 1975, two close and densely tangled views of expressive gesture. In contrast, Cootamundra Wattles bears Williams’ semi-abstract compositional structure of three horizontal bands, whose contrasting colours creating an airy and dry vista with the illusion of spatial depth. Derived from, or at least influenced by, the artist’s strip gouaches of the early 70s, this tripartite composition narrows the focal point into a central band of painterly texture - here a dense and gestural wall of vegetation, crowned by a row of black-trunked wattles and a single white-trunked gum, jutting beyond the thick violet horizon line. A sparse and scrubby expanse of bush in the foreground is created by leaving visible both the ochre yellow ground and coarse weave of the canvas. The uppermost section of Cootamundra Wattles features an animated blue sky, complete with puffy white clouds and diagonal sweeping brush strokes signalling an impending storm.   Celebrating the exuberant richness of burgeoning springtime, Cootamundra Wattles is a joyful and decorative view of the Victorian landscape. Painted outdoors with painterly gesture and a heightened palette of pure colour, these paintings have invited comparisons with the works of the French impressionists, particularly Cézanne and Monet.6 Painted at a time of great stylistic innovation in Williams’ work, in particular a release from his previous formal and chromatic restraint, the wattle’s symbolism of regeneration is applied not only to the landscape but also to the artist.   1. Plant, M., ‘Quattrocento Melbourne: Aspects of Finish 1973 - 77’, in Galbally, A., and Plant, M. (eds.), Studies in Australian Art, Department of Fine Arts, University of Melbourne, 1978, p. 101 2. The artist, 1974, published in ‘Artist’s Camp. Erith Island March 1974’, Overland, Melbourne, issue 60, Autumn 1975, pp. 41 – 55 3. Fred Williams, 24 July 1969, quoted in Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 174 4. Mollison, J., ibid., p. 173 5. Fred Williams, 14 August 1975, quoted in Mollison, J., ibid., p. 178 6. ‘Surely comes direct from original impressionist sources rather than from watered down Australian ones’, Borlase, N., ‘A painter at his peak pushes further on’, The Bulletin, Sydney, vol. 097, no. 4954, 26 April 1975, p. 51 LUCIE REEVES-SMITH © Estate of Fred Williams/Copyright Agency 2023

                  Deutscher and Hackett
                • FRED WILLIAMS, LANDSCAPE WITH CREEK BED, 1976 - 77
                  Aug. 16, 2023

                  FRED WILLIAMS, LANDSCAPE WITH CREEK BED, 1976 - 77

                  Est: $800,000 - $1,200,000

                  FRED WILLIAMS (1927 - 1982) LANDSCAPE WITH CREEK BED, 1976 - 77 oil on canvas 153.0 x 137.5 cm signed upper right: Fred Williams. bears inscription on label attached to stretcher bar verso: TWO PARTS / 1. / FRED WILLIAMS / "LANDSCAPE WITH CREEK BED" PROVENANCE Rudy Komon Art Gallery, Sydney Joan Clemenger AO and Peter Clemenger AO, Melbourne, acquired from the above in April 1978 EXHIBITED Fred Williams, Undercroft Gallery, University of Western Australia, Perth, 25 February – 12 March 1978; Contemporary Art Society Gallery, Adelaide, 15 March – 8 April 1978 and Rudy Komon Art Gallery, Sydney, 29 April – 7 May 1978, cat. 10 RELATED WORK Landscape with Creek Bed, 1976, oil on canvas, 153.0 x 137.5 cm, in the Janet Holmes à Court Collection, illus. in Hart, D.,  Fred Williams: Infinite Horizons, National Gallery of Australia, Canberra, 2011, p. 146 We are grateful to Lyn Williams for her assistance with this catalogue entry. ESSAY An invitation in 1975 to mount a solo exhibition of gouaches at the Museum of Modern Art in New York marked the beginning of an intensely productive period in Fred Williams’ career. He was the first Australian artist to be honoured in this way and the exhibition, which opened in March 1977, acknowledged the significance of his art and its unique vision of the landscape within a national context – both to audiences who were familiar with the country his paintings described, and beyond. Introducing the exhibition, the Director of MoMA’s Department of Drawings, William S. Lieberman, wrote: ‘Fred Williams knows Australia. He is not an artist who would disdain a gum tree. He is not a foreigner seeking to impose a natural paradise on some strange, exotic land. He is, however, a romantic artist and his approach to landscape is narrative. His images may at first seem abstract, but they in fact describe actual times and places… Fred Williams’s colours are those of the continent itself… Fred Williams’s vision is authentic.’1 In addition to international travel and an extensive program of exhibitions at home – including six solo shows presented across five states between 1975 – 78 – the second half of the 1970s saw the development of four major painting series. Continuing his well-honed practice of working directly from the landscape, Williams focussed in on particular geographical forms: pools of water (Kew Billabong); mountains (Kosciusko and Guthega); gorges (Werribee) and waterfalls.2 Many of the sites he painted were in close proximity to his home, and the destinations of day trips made in the company of friends and fellow artists were frequently found in Williams’ copy of the newly-published edition of the Physiography of Victoria.3 The series of gorge paintings began in late 1975 following two sketching excursions to Werribee, a short distance south-west of Melbourne. The drama and varied features of the landscape obviously appealed to Williams, who returned early the following year, making a further eight visits to the area in just over two months, painting oil sketches as well as taking photographs, which he used as aide-mémoires. He worked in a different location each time – from Picnic Point, which offered a broad view over the cliffs to the dry creek bed and surrounding bush below, to Kelly’s Creek, where the perspective was closer and more intimate, noting in his diary, ‘These last three or four months have been the driest in fifty three years? so it has been a great opportunity to be doing the “Gorge” – visually it could not be seen under better conditions.’4 Williams also wrote, ‘It is quite fascinating to think of the You Yangs looking like a saw-tooth – & just a few miles away the “Gorge” doing the same thing in reverse.’5 This recognition of the connection between the geography of Werribee Gorge and the You Yangs – the subject of an important series of paintings produced the previous decade – provides an insight into the depth of Williams’ understanding and careful observation of the landscapes in which he worked.   In making these paintings, Williams solidified the practice of beginning studio paintings soon after a sketching trip, while the visual and physical memory of the experience was still strong, and there was now little difference between what he termed the ‘outside’ paintings and the ‘inside’ works. Recording his excitement about this new aspect of the creative process, he wrote, ‘this is something of a milestone for me – to paint the sketch on the spot and then paint the picture!’6 Landscape with Creek Bed, 1976 – 77 is based on a painting Williams made at Kelly’s Creek in April 1976. He began working on it in the studio just three months later, and it was finished in mid-1977. One of the consequences of this way of working is an immediacy in the application of paint which echoes marks made directly in front of the motif, as the hand directs the brush to record an impression of what the eye is seeing, capturing both the appearance and the feeling of the landscape. From all-over compositions like The River, Werribee Gorge, 1977 (Art Gallery of New South Wales) in which the river, seen from above, meanders through a densely treed area, to more sparse images like Dry Creek Bed, Werribee Gorge I, 1977 (Tate Gallery, London), it is the diversity of brushstrokes and a certain lightness of touch that prevails. When Landscape with Creek Bed was exhibited in a solo show at the Rudy Komon Gallery, Sydney, in April – May 1978, it was listed and displayed as a two-part work, although each canvas was sold separately. The other, closely related painting is in the Janet Holmes à Court Collection.7 Landscape with Creek Bed presents a veritable catalogue of painterly forms which are applied on top of a pale sandy ground. A black line defines the irregular path of the creek, dancing across the canvas and establishing a syncopated pictorial rhythm that reverberates throughout the painting. Thick vegetation across the top is described by a dense, richly textured band of loose, gestural brushstrokes interspersed with areas of paint that have been dabbed onto the canvas by splayed and flattened bristles of the brush. The composition opens up on either side of the creek with sparsely painted lines and characteristic dots, dashes and daubs defining the changing terrain and other observed features of the view. The bottom section of the painting is classic Williams – a series of delicate and yet energetic marks which, in their varied technique and colour, convincingly depict an open, sparsely vegetated landscape. His delight in the subject is palpable, as is the confidence of his gesture and mastery of his medium. Williams was a consummate colourist and while the first impression of this painting is one of muted landscape tones, closer prolonged inspection reveals glimpses of brilliant colour – green, mauve and rich reds – that are such a distinctive feature of his work, and indeed, so typical of the experience of being in the Australian bush.      The Werribee Gorge paintings reveal the hand and imagination of a mature artist who is confident in his abilities and yet not content to rest on the successes of the past. Exploring new territory, both physically and artistically, Williams skilfully describes a specific location while at the time presenting a symbolic representation of the landscape which is imbued with a profound depth and emotional resonance. As Patrick McCaughey explained, ‘Each image forms a metaphor to focus the landscape and give it a new expressive power and purpose. Together, the series forms a new consciousness in Williams’s art… [reflecting] how much Williams wanted to combine inner compulsion and structural design and let them flow and be seen to flow from each other.’8 1. Lieberman, W. S., Fred Williams – Landscapes of a Continent, Museum of Modern Art, New York, 1977, n.p. 2. See McCaughey, P., Fred Williams 1927 - 1982, Murdoch Books, Sydney, revised edition, 1996, chapter 8 3. Ibid., p. 290 4. Fred Williams Diary, 21 April 1976 cited in Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery & Oxford University Press, Canberra, 1989, p. 205 5. Fred Williams Diary, 30 March 1976, ibid. 6. Fred Williams Diary, 30 April 1976 cited in Hart, D., Fred Williams: Infinite Horizons, National Gallery of Australia, Canberra, 2011, p. 148 7. See Hart, ibid., pp. 145 – 6 8. McCaughey, op.cit., p. 284 KIRSTY GRANT © Estate of Fred Williams/Copyright Agency 2023

                  Deutscher and Hackett
                • FREDERICK RONALD WILLIAMS - LANDSCAPE - LITHOGRAPH
                  Aug. 13, 2023

                  FREDERICK RONALD WILLIAMS - LANDSCAPE - LITHOGRAPH

                  Est: $1,600 - $1,800

                  FREDERICK RONALD WILLIAMS (1927-1982) LANDSCAPE Signed and editioned in margin Lithograph 25 x 27.5cm Estimate $1,600/1,800 AUD

                  GFL Fine Art
                • FREDERICK RONALD WILLIAMS - LANDSCAPE - LITHOGRAPH
                  Aug. 13, 2023

                  FREDERICK RONALD WILLIAMS - LANDSCAPE - LITHOGRAPH

                  Est: $1,600 - $1,800

                  FREDERICK RONALD WILLIAMS (1927-1982) LANDSCAPE Signed and editioned in margin Lithograph 18 x 26cm Estimate $1,600/1,800 AUD

                  GFL Fine Art
                • Fred Williams (1927-1982), The First Rothbury Label, c.1970
                  Aug. 11, 2023

                  Fred Williams (1927-1982), The First Rothbury Label, c.1970

                  Est: $1,200 - $2,000

                  Lithograph on paper, approx. 34 x 48cm (image), 56 x 66.5cm (frame). Signed bottom right, editioned '3/25'. Foxing evident. Available for local pickup, otherwise courier to be arranged and paid for by bidder. Similar works from this series are held in the collections of the National Gallery of Victoria and the Art Gallery of South Australia.

                  Roxbury's Auction House
                • Fred Williams, Australian 1927-1982, Pianist, etching, plate size 15cm by 20cm
                  Jul. 30, 2023

                  Fred Williams, Australian 1927-1982, Pianist, etching, plate size 15cm by 20cm

                  Est: $800 - $1,200

                  Fred Williams Australian, 1927-1982 Pianist etching dated 56 and numbered 4-9

                  For-Auction
                • Fred Williams, Australian 1927-1982, Landscape, etching proof 1, visible paper size 26.5cm by 46cm
                  Jul. 30, 2023

                  Fred Williams, Australian 1927-1982, Landscape, etching proof 1, visible paper size 26.5cm by 46cm

                  Est: $2,500 - $3,500

                  Fred Williams Australian, 1927-1982 Landscape etching proof 1 Inscribed to Violet Duleau ( South yarra Galleries) Christies lot number 286

                  For-Auction
                Lots Per Page: