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Lot 39: HOWARD ARKLEY, PHYSIOGNOMY, 1987

Est: $60,000 AUD - $80,000 AUDSold:
Deutscher and HackettSydney, AustraliaNovember 22, 2023

Item Overview

Description


HOWARD ARKLEY
(1951 - 1999)
PHYSIOGNOMY, 1987
synthetic polymer paint on canvas
163.0 x 122.0 cm
signed and dated verso: Howard Arkley 87.
signed, dated and inscribed with title verso: HOWARD ARKLEY / "Physiognomy" / 1987

PROVENANCE
Private collection
Deutscher~Menzies, Melbourne, 25 - 26 April 1999, lot 248 (as 'The Physiognomy')
The Estate of the Late Alan Cardy, Sydney

EXHIBITED
Howard Arkley: Suburban urban messages
, Roslyn Oxley9 Gallery, Sydney, 2 - 19 September 1987, cat. 11 (as 'Happenstance')
Howard Arkley
, Bellas Gallery, Brisbane, 13 June – 1 July 1989, cat. 2
Howard Arkley and Friends,
TarraWarra Museum of Art, Victoria, 5 December 2015 – 28 February 2016

LITERATURE
Crawford, A., and Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, revised edition 2001, p. 76 (illus. as 'Strange Fruit')
Gregory, J.,  Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, pp. 169, 170, fig. 6.14 (illus.)
Fitzpatrick, A., and Lynn, V.,  Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, pp. 95 (illus.), 143
Howard Arkley Online Catalogue Raisonné: [ 9/10/23)

ESSAY
When Howard Arkley died in July 1999 just three days after his return to Melbourne following the enormous success of his exhibition The Home Show at the Venice Biennale, the career of one of Australia’s most highly productive and endlessly innovative contemporary artists was tragically cut short. However, as a painting such as Physiognomy, 1987 highlights, Arkley’s work never ceases to surprise and delight in both its unexpected combination of colour and form, and in its ability to continually reveal the artist’s idiosyncratic grab-bag approach to inspiration and making. As curator Anthony Fitzpatrick has astutely observed:
 
‘…it was this kind of unresolved, liminal juncture between high and low, reality and simulation, planning and improvisation, rational and irrational, the abstracted and the constructed, detachment and involvement, firsthand experience and second degree quotation, that Arkley occupied throughout his entire career. From a seemingly endless flow of dislocated and disjointed cultural fragments, the artist generated and synthesised his own web of references and connections, a method and a structure that would underpin his potent, highly distinctive and instantly recognisable visual identity.’1
 
Physiognomy was first exhibited in September 1987 at Roslyn Oxley9 Gallery, Sydney under the name Happenstance, 1987 and was subsequently shown at Bellas Gallery, Brisbane in June 1989 under its present title.2 Part of a group of intriguing images that transformed cactus-like forms into strange humanoid creatures (with some more obviously bearing human body parts, such as arms and legs, often placed in anatomically impossible positions) the work was a creative and decorative extension of the artist’s exhibition Howard Arkley: C acti and Succulents held at Roslyn Oxley9 Gallery, Sydney in May 1984. The spiky, somewhat surreal forms of these plants obviously appealed to Arkley, who emphasised their structural qualities through his expressive and skilled use of the airbrush and celebratory combination of decorative elements.
 
While the work’s title refers to the capacity to determine a subject’s personality or character through their facial features, Arkley’s teardrop shaped ‘head’ remains blank, revealing nothing. This impenetrable visage, with its areas of rich block colour and dotted hairlike tendrils become the perfect foil for the shifting chromatic spectrum of Arkley’s complex crisscross background and black spray outline, which seem to physically pulse, and always hover, on the edge of focus. Drawing upon the imaginative lineage of Surrealism and Pop, Arkley often replaced the human head with a cactus in his drawings, and in turn, his first major portraits – Tattooed Head, 1983 (Collection TarraWarra Museum of Art) and Zappo Head, 1987 (Bendigo Art Gallery) – included several plant-like features.3 Over time, these cactus heads became ‘something of a signature for the artist’s persona – another alter ego and mask’.4 As Arkley’s wife and long-term assistant, Alison Burton has recalled:
 
‘…I often associate [his cacti succulent works] as particularly characteristic of him. They were a motif Howard used many times in his sketches and doodles, meandering across newspapers, coasters and novels, anything that he could draw on. I think his cacti works to be rather like I remember him, spiky, quirky and sometimes chaotic, but also contained, thoughtful and ordered.’5
 
1. Fitzpatrick, A., ‘Sampling: The Art of Howard Arkley’ in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 22
2. John Gregory has since determined that Happenstance, 1987 is another composition : (accessed 24 October 2023)
3. See Lynn, op. cit., p. 62 and Fitzpatrick, op. cit., p. 18
4. Lynn, ibid.
5. ibid.
 
KELLY GELLATLY

© The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

Artist or Maker

Payment & Shipping

Payment

Accepted forms of payment: American Express, COD (cash on delivery), MasterCard, Personal Check, Visa, Wire Transfer

Shipping

Deutscher and Hackett's Registrar is happy to assist with advice about preferred carriers, if required. Email: [email protected]

Auction Details

Important Australian + International Fine Art

by
Deutscher and Hackett
November 22, 2023, 07:00 PM AEDT

36 Gosbell Street, Paddington, Sydney, NSW, 2021, AU

Terms

Buyer's Premium

22.73%

Bidding Increments

From:To:Increment:
$0$999$50
$1,000$1,999$100
$2,000$3,199$200
$3,200$3,799$300
$3,800$4,199$200
$4,200$4,799$300
$4,800$4,999$200
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$31,999$2,000
$32,000$37,999$3,000
$38,000$41,999$2,000
$42,000$47,999$3,000
$48,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000$319,999$20,000
$320,000$379,999$30,000
$380,000$419,999$20,000
$420,000$479,999$30,000
$480,000$499,999$20,000
$500,000$999,999$50,000
$1,000,000+$100,000

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POST-SALE CONDITIONS

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prospective buyers and sellers guide

1. PRIOR TO AUCTION

CATALOGUE SUBSCRIPTIONS
Catalogues can be obtained at Deutscher and Hackett offices or by online subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information go to www.deutscherandhackett.com).

PRE-SALE ESTIMATES
The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for
prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer's premium or other charges where applicable.

RESERVES
The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS
In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend.

SYMBOL KEY
? Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part.
In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price.
? Used to indicate lots for sale without a reserve.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS
All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST'S NAMES
All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist's working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.
Terms used in this catalogue have the meanings ascribed to them below:
a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work
by the artist.
b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part.
c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist's period.
d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist.
e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist.
f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist.
g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist.
h. "signed" / "dated" in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist.
i. "bears signature" / "bears date" in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

PROVENANCE
Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality.

2. THE AUCTION

Auctions are open to the public and are free to attend. Deutscher and Hackett may exclude any person at any time in its discretion.

REGISTRATION
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CONDUCT OF AUCTION
Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve.

ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS
As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.

RESERVE
Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor.

BIDDING INCREMENTS
Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion):

$500 - 1,000 by $50
$1,000 - 2,000 by $100
$2,000 - 3,000 by $200
$3,000 - 5,000 by $200 / $500 / $800
$5,000 - 10,000 by $500
$10,000 - 20,000 by $1,000
$20,000 - 30,000 by $2,000
$30,000 - 50,000 by $2,000 / $5,000 / $8,000
$50,000 - 100,000 by $5,000
$100,000 - 200,000 by $10,000
$200,000 - 300,000 by $20,000
$300,000 - 500,000 by $20,000 / $50,000 / $80,000
$500,000 - 1,000,000 by $50,000
$1,000,000+ by $100,000

SUCCESSFUL BIDS
The fall of the auctioneer's hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS
Where a lot is unsold, the auctioneer will announce that the lot is "bought in", "passed", "withdrawn" or "returned to owner".

3. AFTER THE AUCTION

PAYMENTS
Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 3.10% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

PURCHASE PRICE AND BUYER'S PREMIUM
The purchase price will be the sum of the final bid price (including any GST) plus a buyer's premium set at 22% (plus GST) of the final bid price. An Invaluable service fee of 5% of the final bid price will also be charged. Buyers may be liable for other charges reasonably incurred once ownership has passed.
GOODS AND SERVICES TAX
Auctions are conducted on a GST inclusive basis (where GST applies). GST is payable on some lots. A list of those lots is set out in the catalogue. Buyers are required to pay a 10% G.S.T which sum is:
a. included in the final bid prices where buying from a GST registered vendor; and
b. included in buyer's premiums and any additional fees charged by Deutscher and Hackett.
If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION
Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

LOSS OR DAMAGE
Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING
Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties.

EXPORT
Prospective bidders are advised to enquire about export licences -- including endangered species licences and cultural heritage permits, where relevant -- prior to bidding at auction. Telephone the Maritime and Movable Heritage Unit on 02 6274 1810 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale.

COPYRIGHT
The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

Shipping Terms

Deutscher and Hackett's Registrar is happy to assist with advice about preferred carriers, if required. Email: [email protected]