83 Moncur Street Woollahra NSW 2025tel: 02 9362 0297 fax: 02 9362 0318
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Important Australian Paintings
Garry Shead (b.1942)
Garry Shead (b.1942)
Garry Shead (b.1942) Monarchy at Sunset 1995
Oil on canvas
122 x 155 cm
Signed 'Garry Shead 95' lower left
no.1606
Illustrated: Grishin., S, Garry Shead, Encounters with Royalty,
Craftsman House 1998, plate 3, page 37.
Exhibited: Lyall Burton Gallery, Melbourne
Touring Exhibition, Brisbane City Gallery, 1998
Provenance: Lyall Burton Gallery, Melbourne
Eva Breuer Art Dealer, Sydney
Craftsman House 1998, plate 3, page 37.
Exhibited: Lyall Burton Gallery, Melbourne
Touring Exhibition, Brisbane City Gallery, 1998
Provenance: Lyall Burton Gallery, Melbourne
Eva Breuer Art Dealer, Sydney
Monarchy at Sunset 1995 is one of the largest major paintings from the early period of the important 'Royal Suite' series.
The painting is illustrated in the definitive text on the series and is one of the largest paintings from the beginning of the series in 1995. The composition is a complex one involving multiple large figures including both the Queen and the Consort. The painting also includes the other essential images of the best paintings of the series; the harbour bridge, the silhouetted kangaroo, the Koala and the sprig of golden wattle.
The painting is illustrated in the definitive text on the series and is one of the largest paintings from the beginning of the series in 1995. The composition is a complex one involving multiple large figures including both the Queen and the Consort. The painting also includes the other essential images of the best paintings of the series; the harbour bridge, the silhouetted kangaroo, the Koala and the sprig of golden wattle.
Garry Shead (b.1942)The Rocking Horse 1986
Oil on board
90 x 120 cm
Provenance: Private collection Sydney
no.11133
Spanning more than five years, the 'Outback' series is an important period of work by Garry Shead that encapsulates his father’s narrative history of the adventurous jackaroo. Themes running throughout the body of work include loss of freedom and frustration symbolised by the breaking of the horse. Visually inspired by the outback landscapes by Sidney Nolan, the paintings are composed of warm ochres and burnt sienna reds. Initially the horses depicted in the early works from the series contained parts of the female body. The horses evolved to embody a sexual energy typically reserved for Shead’s female subjects and the relationship between man and horse served “as a metaphor for the relationship between man and woman, while the vastness of the outback landscape is constant setting for this drama.”1
1 Grishin S, Garry Shead and The Erotic Muse, Craftsman House, 2001 p.87
Garry Shead (b.1942)Dancer c.1998
Oil on board
59 x 43 cm
Provenance: Private collection Sydney
no.11134
As Sasha Grishin describes the series: “Throughout the series the constant recurring motif is that of the fully clad male dancer, usually shown in an evening suit and occasionally appearing slightly awkward and uncertain of himself, accompanied by a nude, or an almost nude female dancer. On one very basic level there is the aspect of voyeuristic erotic wish-fullfillment, drawing on the surrealist strategy of undressing the woman with the male gaze that had been so effectively employed by Renne Magrite. Shead’s female dancers are of great sensuous beauty and lyrical charm. There is a hint of a more metaphysical dimension of this dance, relating it to the dance of life as interpreted by artists like Edvard Munch. The Dance is performed on an allegorical stage like the arena of life, sometimes with an awareness of an audience and sometimes under the harsh glow of the spotlights. In most of the ‘Dance Sequence’ paintings there is an indication of an open door in the background, at times shown as the source of light, but in all instances the door way is a path for esacpe. Shead achieves in this series of paintings a great lryicism in the paint surface, a warm sensuousness through which the female flesh glows in a rich radiance. Increasingly these intimate interior settings allude to ambiguous and seductive dream-like reality where ideas and interpretations float free from gravity and verbal associations."
Reference: Grishin S, Garry Shead and The Erotic Muse, Craftsman House, 2001 p.166.
Ray Crooke (b.1922)
Ray Crooke (b.1922)Untitled (Three Figures)
oil on canvas
75 x 61cm
signed lower left 'R. Crooke'
Provenance: Private collection Sydney
no.11049
Ray Crooke (b.1922)Untitled
Oil on board
49.3 x 60 cm
Provenance: Private collection Sydney
no.10657
Tim Storrier (b.1949)
Tim Storrier (b.1949)The Night Wind 2009
oil on canvas
61.5 x 122.5cm
no.11149
Roland Wakelin (1887-1971)
Roland Wakelin (1887-1971)Terrace Houses Double Bay 1963
Oil on board
45 x 64 cm
Signed 'R.Wakelin 63' bottom left
no.11144
Provenance:
Private collection, Melbourne
Private collection, Sydney
Exhibited:
Toorak Art Gallery (label attached verso) - On loan from Mr P English
Geelong Art Gallery (label attached verso)
Roland Wakelin Retrospective Art Gallery of NSW 8 - 30 April 1967 cat no.87
Roland Wakelin: Master of Colour, A Newcastle Regional Gallery Touring exhibition, 2002
Toured to Newcastle City Art Gallery 10-13 May 1967
Illustrated:
Roland Wakelin: Master of Colour, A Newcastle Regional Gallery Touring exhibition, 2002
John Coburn (1925-2006)
John Coburn (1925-2006) The Four Seasons (Summer) 1994
Oil on canvas
64.5 x 89.5cm
Signed 'Coburn' lower right
Signed and inscribed verso 'John Coburn/ summer/ 1994/ Oil'
Provenance: The Royal Pines Resort, Queensland. Commissioned directly from the artist in 1994
no.9087
cat no.11
Influenced by Matisse, Rothko and Miro, Coburn’s art is motivated by the natural world and by his own personal spirituality. The Seasons is arguably one of the most important motifs of Coburn’s career. Encompassing both the natural and the spiritual, the Seasons appear in all decades of Coburn’s work culminating in a series of nine monumental tapestries commissioned in 1988 by the Christensen Fund which were woven in Aubusson, France. The present four paintings represent the individual seasons of nature and parallel the ‘growth, development, transformation and renewal of the spirit.’1 As Alan Rozen suggests “it is through his integrity in relating his religion to nature and nature to religion,” that Coburn achieves his raison d’etre.2
Memories of the landscape of his childhood are predominant in all the Seasons of Nature paintings. As Coburn told Nadine Amadio; “They derive from my childhood when I was growing up in Queensland in the tropical vegetation.”3 Each of the present paintings, which were commissioned by the Royal Pines Resort in 1994, is a seasonal garden of delight; Spring has a clarity and brightness that suggests warm spring air and new life, Autumn glows with rich golden hues, Winter suggests a withdrawing and pulling back of life forces and Summer is an exultant celebration of life and regeneration.
1 Amadio, N., John Coburn’s The Seasons Tapestries, The Christensen Fund, 1988, p.3.
2 Rozen, A., The Art of John Coburn, Ure Smith, Sydney, 1979, p.9.
3 Amadio, N., John Coburn’s ‘The Seasons’ Tapestries, The Christensen Fund, 1988, p.12.
2 Rozen, A., The Art of John Coburn, Ure Smith, Sydney, 1979, p.9.
3 Amadio, N., John Coburn’s ‘The Seasons’ Tapestries, The Christensen Fund, 1988, p.12.
Anna Platten (b.1957)
Anna Platten (b.1957)Head and House 2007
charcoal on paper
125 x 100 cm
Finalist in the Kedumba drawing prize 2007
no.10769
Sale Section
David Boyd (b.1924)
David Boyd (b.1924)The Willow and the Wattle 1990
Oil on canvas
34 x 44cm
Signed lower left 'David Boyd'
Titled, signed and dated on stretcher verso
Provenance: Private collection Sydney
no.10699
Jimmy Pike (1940-2002)
Jimmy Pike (1940-2002)Parapara and Kurrkuminti
acrylic on canvas
75 x 60cm
verso: parapara and kurrkuminti
J Pike
no.10152
Pike was born during World War Two in the Great Sandy Desert in Western Australia. His people, the Walmajarri, had very limited contact with white Australians, and Pike did not meet a white person until he was 13. While living a traditional nomadic life Pike learned to create ceremonial designs, often applied to the body, which depicted the stories and knowledge of his tribe. As a young adult Pike begun working at cattle stations in the Kimberley rather than continuing to live a traditional nomadic life. During this time he begun to supplement his earnings as a stockman by carving boomerangs and wooden curios to sell to tourists.
In 1979 Pike was sent to jail after being convicted of killing another Aboriginal man. While incarcerated he begun to paint, draw and make prints. His bold colours and patterns drew attention early and his two art teachers in prison set up a company to market his work. After his release in 1986 Pike concentrated on his art, and he and his wife (Pat Lowe, a community welfare officer he met while in prison) published several books written by her and illustrated by Pike.
During his life Pike held successful exhibitions in China, South Africa, Italy, England and the Philippines. His work is held in numerous public collections including the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, the Art Gallery of South Australia, the Queensland Art Gallery, the Museum and Art Gallery of the Northern Territory and the Art Gallery of Western Australia.
Tim Storrier (b.1949)
Tim Storrier (b. 1949)Desert c.1975
Oil on board
104 x 140cm
signed 'Storrier' lower right
no.10151
Contemporary Australian Paintings
Stephen Nothling (b.1962)
Stephen Nothling (b.1962)
Stephen Nothling (b.1962)Cover of Darkness 2
oil on canvas
160 x 190cm
no.10879
oil on canvas
160 x 190cm
no.10879
Michael Muir (b.1975)
Michael Muir (b.1975)Untitled
pastel on paper
oil on canvas
66 x 66cm
no.10743
Don Rankin (b.1947)
Don Rankin (b.1947)Poppies (study #4) 2009
Oil on canvas
80 x 60 cm
Featured Graphic
John Olsen (b.1928)
John Olsen (b.1928)
John Olsen (b.1928)Fish & Kettle 2002
Etching 10/30
11 x 20cm (plate size)
no.9583
Visit our website to view other graphics by John Olsen
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Gallery 1 & 2: Summer Exhibition
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Gallery 1: Autumn Exhibition
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Gallery 1: Autumn Exhibition
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January
Gallery 1 & 2: Summer Exhibition
Upcoming Exhibitions
February
Gallery 1 & 2: Summer Exhibition
March
Gallery 1: Autumn Exhibition
Gallery 2: Wayne Eager
April
Gallery 1: Autumn Exhibition
Gallery 2: Pam Sackville
Please send us an email if you wish to be added to the weekly newsletter list.
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