GALLERY NEWS 10 March 2010: Garry Shead, Arthur Boyd, Zhong Chen

83 Moncur Street Woollahra NSW 2025
tel: 02 9362 0297 fax: 02 9362 0318
email: art@evabreuerartdealer.com.au
website: www.evabreuerartdealer.com.au


New in the Gallery

Garry Shead (b.1942)

Garry Shead (b.1942)
Wye Wurk 1994
Oil on board
90 x 120cm
Signed 'Garry Shead 94' lower left
Provenance:
Private collection, Queensland
Schubert Gallery, Gold Coast
no.11266

Visit our website to view other paintings by Garry Shead


Arthur Boyd (1920-1999)

Arthur Boyd (1920-1999)
Pulpit Rock, Bathers and Muzzled Dog c.1987
Oil on canvas
152.3 x 123cm
Signed 'Arthur Boyd' lower right
no.9184

Illustrated: Exhibition Catalogue, Arthur Boyd, Australian Embassy, Washington DC, 1986
Exhibited: Arthur Boyd, Australian Embassy, Washington DC, 30 May – 21 June 1986.

Born into a lineage of gifted painters, potters, musicians and architects, Arthur Boyd became the most celebrated member, in Australia’s cultural history, of that revered artistic family. Arthur Boyd is represented in the National Gallery of Australia, all state galleries, many regional galleries and many other important public collections both in Australia and overseas.

The Shoalhaven River is one of the most important subjects in Arthur Boyd’s remarkable body of work. The Boyd’s purchased the first of two properties, Riversdale, in 1973 and the second, Bundanon in 1979. Pulpit Rock, Bathers and Muzzled Dog c.1987 assaults the viewer with a vivid depiction of nature vs man-made hedonism. A dramatic painting with much wall power, it is concerned with the destruction of beauty, peace and tranquility in the natural environment through ignorant and pleasure seeking pastimes such as water skiing. This is clearly evident in the violent juxtaposition of a muzzled dog chasing a helmet wearing human figure (which appears to morph into an animalistic symbol of speed and greed) against a serene seemingly untouched escarpment of natural landscape. (Janet McKenzie, Arthur Boyd: Art and Life, pp.186-189)

Visit our website to view other paintings by Arthur Boyd


Zhong Chen (b.1969)

Arriving in the gallery soon

Zhong Chen (b.1969)
Rainy Day 6
Oil on linen
90 x 122 cm

Visit our website to view paintings by Zhong Chen


Ray Crooke (b.1922)

Ray Crooke (b.1922)
Mother and Child c.1985
oil on canvas
60 x 50cm
Provenance: Private collection, Sydney
no.11274

Visit our website to view paintings by Ray Crooke


Sir Sidney Nolan (1917-1992)

Sir Sidney Nolan (1917-1992)
New Guinea Series 1968
ripolin and mixed media on paper
52 x 79cm (sight size)
Signed: 'Nolan' lower right
Provenance: Savill Gallery, Sydney. (Label attached verso)
The Everad Read Gallery, Johannesburg. (Label attached verso)
Private collection, Sydney
no. 11272

Visit our website to view works on paper by Sir Sidney Nolan


Sir Sidney Nolan (1917-1992)
Central Australia 1967
ripolin on paper
52 x 76cm (sight size)
Signed: 'Nolan 1967' lower right
Provenance: Private collection, Sydney
no. 11273

Visit our website to view works on paper by Sir Sidney Nolan


James Gleeson (1915-2008)

James Gleeson (1915-2008)
Figure in Psychoscape c.1965
oil on board
14.5 x 11 cm
Signed 'Gleeson' lower right
Provenance: Private collection, Sydney
no.11271

Visit our website to view paintings by James Gleeson


Adriane Strampp (b.1960)

Arriving soon in the gallery

Adriane Strampp (b.1960)
Untitled 2004
Oil on canvas
150 x 350 cm (total - 3 panels)
Provenance: Private Collection Sydney
Eva Breuer Art Dealer, 2004
no.6648a

Visit our website to view other paintings by Adriane Strampp




Current Exhibition

Wayne Eager (b.1957)
New Paintings 2010

Wayne Eager (b.1957)
Green Grass 2010
acrylic on linen
120 x 65 cm
no.11232

Visit our website to view other paintings by Wayne Eager




Upcoming Exhibition

Food & Art
On view from 26th March 2010

David Boyd (b.1924)

David Boyd (b.1924)
Two Children with apple and orange 1999
Oil on board
16.5 x 19cm
no.3740

Visit our website to view other paintings from Food & Art


Children in Art
On view from 6th April 2010

Brett Whiteley (1939-1992)

Brett Whiteley (1939-1992)
Mother and Child 1977
Etching 32/60
60.5 x 45cm (plate size)
75.5 x 53cm (sheet size)
Edition of 60, with 8-10 APs
Printer: Max Miller, Sydney
Publisher: Port Jackson Press, Sydney
Exhibited: 'Recent Paintings and Drawings', Fischer Fine Art Limited, London, September 1977, cat. 74
no.7059

Note: The mother in this etching is the artist's sister Fran, with her baby (Source: Brett Whiteley: The Graphics 1961-1992, Deutscher Art Pty Ltd, Melbourne, 1995)

Visit our website to view other paintings from Children in Art


Pam Sackville (b.1944)
New Paintings 2010

Opening Saturday 17 April 2010, 3-5PM

Paintings available to view now

Pam Sackville (b.1944)
Pears in a Napoleon Dish 2008
Watercolour on arches paper
75 x 105cm
no.9647

Visit our website to view other paintings by Pam Sackville




Featured Graphics

John Coburn (1925-2006)

John Coburn (1925-2006)
Cosi fan Tutti 1990
Screen Print (13 colours)
Edition A/P on BFK Rives
artist's proof: 10
60 x 50cm (image)
76 x 56.5cm (sheet)
signed, dated LR, inscribed with title LC and with edition LL
printed by Michael Phelps, Sydney
commissioned by Opera Australia on the theme of one of
the operas performed in that season. Due to timing his
print was not part of a set of 5 prints by other artists, also on
opera themes, commissioned around the same time.
no.11222

Visit our website to view graphics by John Coburn


David Wadelton

David Wadelton
Still Life - Hand and Foot
Lithograph 42/60
64 x 45.5cm
Commissioned by the Australian Opera for its
Australian Opera's 40th Anniversary Print Portfolio
(to be sold individually)
no.7735

Visit our website to view graphics by Important Australian Artists




Current Exhibition

March
Gallery 1: Autumn Exhibition
Gallery 2: Wayne Eager

Upcoming Exhibitions

March
Gallery 1: Autumn Exhibition
Gallery 2: Food & Art

April
Gallery 1: Autumn Exhibition
Gallery 2: Children in Art
Gallery 2: Pam Sackville

May
Gallery 1: Autumn Exhibition
Gallery 2: Brian Seidel

Please send us an email if you wish to be added to the weekly newsletter list.

Important Australian Paintings January Stock Card

Staff Picks - Gallery Associate Laura Ryan

Christopher Beaumont (b.1961)
Still life with Blossom 2009
Oil on fine linen
25 x 30 cm
no. 10472

The space in these works is a virtual or abstract space while the rendering of objects wholly representational. I had a great interest in astronomy as a child. The heavens are an abstract emptiness with objects moving on principles of geometry. The world of atoms & molecules are often pictured as coloured spheres in this same black space. Atoms and molecules don’t actually look like this at all but this helps us to understand them conceptually. It is the same space of 3D computer modelling. I have grown up in a time when these images are commonplace and this is definitely an influence on the way I conceive of paintings. -Christopher Beaumont, 2007

Mike Parr (b.1945)
Zastruga Self Portrait 1986
Oil crayon & charcoal on paper
69.5 x 100cm
no.2772

Zhong Chen (b.1969)
Concubine Concubine
Oil on linen
122 x 122cm
no.10983

The pixel paintings incorporate images of Chinese portraits, animals and landscape, each of which is central to the genre of traditional Chinese ink brush painting. Zhong has painted Chinese beauties, Peking opera characters, Door gods and Imperial dogs in his recent body of paintings. By using traditional Chinese inspired images Zhong conveys a sense of his cultural identity. The choice of images are pop, as the folk art of China are an important part of the everyday and popular culture. Woodblock prints and paper cut outs are placed on windows and doors in China. Door god images are placed on doors to protect from the evil spirits. The ‘Romeo and Juliet’ paintings show images of traditional inspired Chinese lovers relating to Shakespeare’s romantic tragedy. David Thomas writes, “Paradoxes abound, not the least of them being the telling of a highly romantic tale through the calculated images of a computer. But these paintings are undeniably contemporary images, sophisticated in their marriage of ancient Eastern customs with new Western technology. The elegant faces may be based on age-old concepts of Chinese beauty, but they materialise as pixelated images of the computer age.” (1)

(1) David Thomas, “Zhong Chen : The Unity of the past and the present”, Zhong Chen Catalogue, Melbourne, 2002.

Stephen Nothling (b.1962)
A Rough Guide to all the Wrens 2007
Oil on canvas
100 x 150cm
no.9237

Samuel Wade (b.1979)
Orchard
oil on canvas
76 x 51cm
no.10036

By portraying these everyday visions using a traditional art training, the artist constructs a dialogue between commonplace existence and artistry, where subtle ironies along with a reverence for the art of the past are explored. The iconic figures of mother and child or a figure exuding pre-Raphaelite beauty may appear on a station platform, for instance. Special care in the portrayal of atmosphere and time of day acknowledges the legacy of the impressionts, while the introspective possibilities offered by the tradition of portraiture are explored. -Sam Wade 2009

Geoffrey Proud (b. 1946)
Emma – Twilight 2008
oil on canvas
100 x 88cm
no.9841

Often quirky and verging on the surreal, Geoffrey Proud's paintings in oil and pastel are like fractured fairytales. Depicting a world of innocence with a sometimes ominous edge, Proud's paintings are fantastic and bizarre. His choice of subjects is broad, including children and childhood narratives, flowers, still lifes and nudes. Alternating between expressionist impastoed brushwork and sensitive detail, he experiments freely with vibrant colour and varying textures. The highly glazed surfaces of his recent oils give his scenes an ethereal and otherworldly quality. Proud has won numerous awards including the Sulman Prize in 1976 for a painting on perspex, and the Archibald prize in 1990 for his portrait of writer Dorothy Hewett. He has exhibited consistently in all state capitals since 1966 and is represented in the National Gallery of Australia, Canberra; many State and regional gallery collections; Parliament House collections in Canberra and Sydney; Artbank; IBM collection; and the Elton John collection, London.

Garry Shead (b.1942)
The Rocking Horse 1986
Oil on board
90 x 120 cm
no.11133

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.

Jean Sutherland (1902 - 1978)
Asters in a White Vase c.1927
Oil on canvas
56 x 41cm
no.3146

Jean Sutherland is represented in the National Gallery of Victoria as well as many important collections throughout Australia. Sutherland was the recipient of many awards including the 1923 National Gallery of Victoria Travelling Art Scholarship.

Asters in a White Vase c.1927 is a luminous, delicately painted still life.

Sir Sidney Nolan (1917-1992)
Untitled (Bird) 1959
Ripolin enamel on paper
30.3 x 25.3 cm
Verso: Nolan / 10th April 1959 / New York
no.96003

Provenance: The artist
Private collection Sydney

Nolan is arguably Australia’s most significant and internationally acclaimed artist. Kenneth Clark refers to him as one of the major artists of the 20th century. He is well known for dramatic shifts between dark, moody themes and bright, uplifting creations. Always fresh and spontaneous, he never relied upon one style or technique but rather experimented throughout his lifetime with many different methods of application, and also devised some of his own.

He commenced formal training twice through the National Gallery of Victoria School of Art but felt compelled to educate himself instead. One of his greatest influences was the French Romantic poet Arthur Rimbaud whose image has been interpreted frequently in many of Nolan’s paintings. A love of music and literature is evident in many of his works both thematically and visually.

Several themes are captured in separate periods and series of works such as Gallipoli, The St Kilda period, Dimboola, Leda and the Swan and the Sonnets. But perhaps the most powerful and recurrent imagery is his iconic depictions of Ned Kelly, the idealistic bushranger and murderer well known in Australian folklore. This series began in 1945 and continued to surface in different techniques throughout Nolan’s lifetime.

Song Ling (b.1961)
Moonlight 2 2008
acrylic on canvas
71 x 56 cm
no.10235

I like to use symbolic imagery from traditional culture in my work as there are many layers of meaning for me. But with these new paintings I am not just looking for symbolism and meaning, but also concentrating on the aesthetic to create paintings of beauty.

With this current series of works I am seeking to represent the Childhood images, Chinese Zen style traditional ink and brush paintings and Asian comic characters in a new way; to give an ancient and pop image a contemporary look, to bring the symbol into a new technological context.

The modern printing process and digital technologies use the dot to produces images. I use a hand-painted dot to create my works.

The colours I use are often found in Chinese folk art and embroidery; I choose colours which have the strongest contrast to create tension in the work. Old technique versus new technique, traditional versus modern; color versus color. But still, I want to create paintings of beauty. Song Ling 2009

James Stephenson (b.1970)
View of Chetsingh Ghat 2009
Oil on board
29 x 19cm
no.10441

The works in this series take their inspiration from Hinduisms most holy site, the ancient north Indian city of Varanasi, situated on the Ganges River. Painted in situ on the city’s ghats (stone steps which descend the rivers bank), these works focus on the everyday ritual bathing performed by locals and pilgrims from all over India, and explore the beauty of one of the worlds great cultural centres.

James Stephenson trained at the Julian Ashton School and has won numerous awards including The Henry Gibbons Prize for Drawing in 1999.

GALLERY NEWS 27 JANUARY 2010: Leonard French, Garry Shead, Ray Crooke, Brett Whiteley

83 Moncur Street Woollahra NSW 2025
tel: 02 9362 0297 fax: 02 9362 0318
email: art@evabreuerartdealer.com.au

website: www.evabreuerartdealer.com.au

Important Australian Paintings

Leonard French (b.1928)

Leonard French (b.1928)
Winter Fountain c.1987-93
enamel and gold leaf on hessian on composition board
122 x 137 cm
Signed: l.r. 'French'
Provenance: Private collection Perth
no.11197

Throughout his career as an artist Leonard French has held true to the philosophy of art at the service of the common man. His works frequently depict epic stories, such as the Iliad, the Odyssey and events from the Bible. These stories allow him a platform to explore universal themes, most frequently the struggle and spiritual journey of a hero. His highly individual and distinctive works reveal a plethora of influences, from Byzantine mosaics (his symmetry and precision), to Gothic (bright colours outlined in black), Romanesque architecture (squat, solid figures) Cubism and the work of Léger to name but a few. This work, Winter Fountain, exemplifies all these elements. The two figures in the work – one black, one white and both with distinctive rounded heads, first began appearing in French’s work in the late 1980’s. Like many facets of French’s work they appear to be highly symbolic, but with the exact meaning intended by the artist obscured. Other works with these figures include The Release (in the collection of the Bendigo Art Gallery), Duet and The Tightrope (both in private collections.)

French's work is represented at the National Gallery of Australia, Canberra, all state galleries, most regional galleries and is also included in many major international collections, including the MoMA, New York. French also completed numerous monumental commissions in Australia, the most famous being the glass ceiling in the Great Hall at the National Gallery of Victoria.

Visit our web site to view other important Australian paintings


Garry Shead (b.1942)

Garry Shead (b.1942)
Dancer c.1998
Oil on board
59 x 43 cm
Signed 'Shead' lower left
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-fulfillment, 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 escape. Shead achieves in this series of paintings a great lyricism 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.

Visit our web site to view other paintings by Garry Shead


Ray Crooke (b.1922)

Ray Crooke (b. 1922)
Villagers Relaxing
oil on canvas
75 x 61cm
signed lower left 'R. Crooke'
Provenance: Private collection Sydney
no.11049

Visit our website to view other paintings by Ray Crooke


Brett Whiteley (1939-1992)

Brett Whiteley (1939-1992)
The Luxembourg Gardens (glimpse) (detail)
Pen and Ink on Paper
55.5 x 75 cm
Initialed 'BW' lower right
Illustrated: Brett Whiteley: Paris Regarde de Côté, Australian Galleries, 1990, Plate 41.
Provenance: Australian Galleries
Private collection Melbourne since 1992
no.11042

The Luxembourg Gardens (glimpse) is part of a series of works on paper which Whiteley produced in Paris between June and July of 1989. Whiteley had rented an apartment on the Rue de Tournon and produced one work a day for 60 days. These are regarde de cote (sidelong glances), which Whiteley saw as the answer to creating images of the city which were not cliché. "millions of pictures have been painted – how to find a new vision is the challenge. What one is after is a high-octane visual poetic journalism, brief, essential and above all fresh. This can best be achieved by drawing, and not the heavy métier of oil paint." Offered for the first time since it was acquired from the Paris Regarde de Coté exhibition this is a superb example of Whiteley's masterful draughtsmanship.

Reference: Brett Whiteley's introduction to: Brett Whiteley: Paris Regarde De Côté, Australian Galleries, 1990.

Visit our website to view other artworks by Brett Whiteley


John Coburn (1925-2006)

John Coburn (1925 - 2006)
Central Desert Painting
Oil on canvas
183 x 244cm
no.10080

Visit our website to view other paintings by John Coburn


Elisabeth Kruger (b.1955)

Elisabeth Kruger (b.1955)
Cirque 2008
oil on linen
122.5 x 153cm
no.10884

Visit our web site to view other paintings by Elisabeth Kruger


Ken Whisson (b.1927)

Ken Whisson (b.1927)
A Day in the Country 1967
Oil on board
73 x 102cm
Signed 'WHISSON' upper left
Inscribed verso "A DAY IN THE COUNTRY" / A DAY IN THE COUNTRY / CLEAR AND COLD / "THE FOXES ON THE HILLS BARKED CLEAR AND COLD"
Provenance: Watters Gallery, Sydney; Esa Jaske Gallery, Sudney
Exhibited: Ken Whisson: Paintings 1957-1985, Broken Hill City Art Gallery, New South Wales, 1985 (cat. 13)
Reference: Ken Whisson Paintings 1947-1999, Niagara Galleries, Melbourne, 2001, p. 120, cat. 19 (illustration p. 35)
Ken Whisson: Paintings 1957-1985, Broken Hill City Art Gallery, New South Wales, 1985, p. 50, cat. 13 (illustration p. 31)
no.7991

Ken Whisson is represented in the National Gallery of Australia, all state galleries, many regional galleries, as well as many other important public collections in Australia and overseas. He has been the recipient of many awards including the 1979 John McCaughey Memorial Art Prize.

Ken Whisson's highly individual form of painting is often derived from and stimulated by memory and intuition. John MacDonald explains that Whisson is "asking the viewer to see with the eye of the mind rather than expecting a perfect match between the object and it's representation." In A Day in the Country, Whisson pushes the paint around his canvases at oblique and obscure angles, creating opposing red, green yellow and blue shapes and forms which echo a figure or a chair a dog or a boat. The resulting painting is fluid and dynamic.

Illustrated: McDonald. J., et al, Ken Whisson Paintings 1947 - 1999, Niagara Publishing, 2001, p.35.

Visit our web site to view other important Australian paintings


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

Visit our web site to view other paintings by Roland Wakelin


Patrick Hockey (1948-1992)

Patrick Hockey (1948-1992)
Untitled 1975
oil on board
44 x 44 cm
signed 'Hockey 75' lower left
provenance: private collection Sydney
no.9656

Patrick Hockey is represented in the National Gallery of Australia, all state galleries, many regional galleries as well as many other important public collections both in Australia and internationally.

Hockey’s Australian ‘Outback Hotel’ series (loosely worked renderings of outback hotels and their patrons) capture the essence of the sun-hardened heart of the land and it’s quintessentially Australian characters.

Visit our web site to view other important Australian paintings


Arthur Murch (1902-1989)

Arthur Murch (1902-1989)
Leda and the swan
Oil on board
39.5 x 49.5 cm
no.5186a

Arthur Murch, a Sydney based painter, trained under Dattilo Rubbo and the sculptor Raynor Hoff in the early 1920s. Murch is renowned for his ability to recreate luminosity in paint. He won the NSW Society of Artists Travelling Art Scholarship in 1925 and worked as a studio assistant to George Lambert before travelling throughout Europe in the 1930s. He was appointed Official War Artist in 1942 and won the Archibald prize in 1949. Under Lambert, Murch developed a romantic style of painting. His paintings portray an idyllic version of Australian life, depicting a playful Arcadian seaside existence. Experimenting with colour, pattern and light, Murch developed a distinctive style.

Arthur Murch is represented in the National Gallery of Australia and the Australian War Memorial, Canberra, and all State and many regional galleries.

Visit our web site to view other important Australian paintings


Jean Appleton (1911-2003)

Jean Appleton (1911 - 2003)
Early Morning Light c.1978
Oil on board
78 x 99 cm
no.5100

Jean Appleton is represented in many state and regional galleries as well as other public collections in Australia and overseas including the Museum of New Zealand Te Papa Tongarewa. She was the recipient of many coveted awards including the inaugural Portia Geach Memorial Prize in 1965.

“Jean Appleton’s practice has always tended to still lifes and landscape, and since the mid-1970s at least she has been almost exclusively involved in painting interiors – works which at one level vary little in the flowers, fruits, furniture, jugs and drapery they utilise – and yet provide, as the still-life genre has traditionally done, endless possibilities for the artist to contemplate reality, experiment visually, and construct a vocabulary of creative expression."

Reference: Simpson, Caroline, Jean Appleton: a lifetime with art, Woollahra, N.S.W, 1998 pp.89

Visit our web site to view other important Australian paintings


Brian Dunlop (1938-2009)

Brian Dunlop (1938-2009)
Malatesta Kneeling 1979
oil on canvas
121 x 169cm
no.5599

Visit our web site to view other important Australian paintings


Ena Joyce (b.1926)

Ena Joyce (b.1926)
Bathing Sheds Round the Bay c.1958
oil on board
39.5 x 44cm
no.7231

Bathing Sheds Round the Bay c.1958 is a beautiful example of Joyce’s wonderful colour harmonies and sensitive observation of light.

"While teaching at Ballarat I met my future husband. We lived in Melbourne where I often painted round Port Phillip Bay and the areas familiar to Clarice Beckett." Ena Joyce

Visit our website to view other paintings by Ena Joyce




Introducing Andrew Paviour

Andrew Paviour
Wedding Reception
oil on canvas
66 x 76 cm
no.11189

Visit our website to view other paintings by Andrew Paviour


Andrew Paviour
At the Races
oil on canvas
76 x 84 cm

Visit our website to view other paintings by Andrew Paviour




Contemporary Australian Paintings

Adriane Strampp (b.1960)

Adriane Strampp (b.1960)
Stags 2009
Oil on linen
101.5 x 101.5 cm
no.10650

Visit our website to view other paintings by Adriane Strampp


Christopher McVinish (b.1952)

Christopher McVinish (b.1952)
The Ongoing Moment
oil on canvas
110 x 110cm
no.11196

Visit our website to view other paintings by Christopher McVinish




Featured Graphic

Fred Williams (1927-1982)

Fred Williams (1927-1982)
Upwey Landscape 1965-1966
etching 16/22
21 x 13cm
signed 'Fred Williams' lower right
no.97355

Fred Williams is represented in the National Gallery of Australia, most state galleries, many regional galleries as well as many other public collections throughout Australia. Upwey Landscape 1965-66, a rare etching of this period, is an example of the unique visual shorthand which Williams devised to capture the beauty of the Australian landscape.

Visit our web site to view other graphics by Fred Williams

Current Exhibition

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.

Collection: Australiana Paintings

Garry Shead (b.1942)
The Sacrifice
Multi plate etching 24/65
60 x 90cm (plate size)
79 x 108cm (paper size)
no.10860

David Lever
Coat of Arms Cuisine 2007
Oil on canvas
100 x 100cm

"Australia is a country that eats components of its Coat of Arms"

David Lever
Sunday Roast 2007
Oil on canvas
100 x 100cm

"Once a great Australian tradition, the Sunday roast was cooked by thousands in an Early Kooka stove"

David Lever

Culinary Peak 2007
Oil on canvas
100 x 100cm

"Lamingtons, Pavlova and Peach Melba are Australian. However unlike older countries culture forming food these treats came from upper class and not from the need to survive."

Clifton Pugh (1924 - 1990)
Maternal Play
Etching 6/75
12 x 12 cm (image size)
32.5 x 25 cm (paper size)
no.11073

Clifton Pugh (1924 - 1990)
Play Acting
Etching 25/75
12 x 12 cm (image size)
32.5 x 25 cm (paper size)
no.11074

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

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.

Zai Kuang (b.1962)
Colin Street
Oil on canvas
100 x 100cm