Artist Panels

Madeleine Winch's panel, detail (above) & installed (below)

Sam Wade's panels, details (above) & installed (below)

Stephen Nothling's panels, details (above) & installed (below)

Children in Art

Eva Breuer Art Dealer is proud to present a curated exhibition of works by a vast range of artists all based around the experience of youth childhood in part inspired by the exhibition Les Enfants modèles (Child Models) at the Musée national de l’Orangerie in Paris.

Many of the artworks depict images of children themselves. Among others, Ena Joyce depicts a young woman in a plaid skirt pushing a pram under a grey sky along the banks of the Thames, John Olsen shows a girl playing with a seemingly uncomfortable cat, Sam Wade paints a group of school children waiting on a train platform and Zai Kuang captures a moment of quiet contemplation as a seated young girl stares down at a toy penguin perched on a table. In some paintings, such as Stephen Nothling’s Only Pinnochio Knows and Meg Williams’s Still Life with Pink Pig the presence of a child is only implied through the inclusion of children’s toys.


The selection of works showing children and elements of children’s worlds are complemented by paintings that appeal to children through elements such as bright colours, in the case of Philippa Blair, or through their whimsical subject matter, in the case of Geoffrey Proud and Rosemary Valadon.


Children in Art will be on view starting April 6th at Eva Breuer Art Dealer.

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.

Staff Picks - Gallery Associate Megan Fizell

Clifton Pugh (1924 - 1990)
Hand & Orchid
Etching 25/75
22 x 15cm (image size)
33 x 25cm (paper size)
no.11067

Born in 1924 in Richmond, Victoria, Clifton Pugh made a name for himself for his portraiture and landscape paintings, after serving in the Australian Imperial Forces in New Guinea in his early years. Pugh attended the National Gallery of Victoria Art School from 1947 to 1949, and then spent much of his life in his bush property 'Dunmoochin' outside of Melbourne. Greatly inspired by the natural environment, Pugh was joined in his love of the land by other artists, who together with him became the Dunmoochin Artists Society in 1953. In the year before his death in 1990, Pugh set up the Dunmoochin Foundation to preserve the bushland and enable other artists to use the studios in future.

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.

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

Strampp’s new work takes another look at the horse and the landscape, in a quieter and more contemplative manner, together with the use of a limited palette. Her work continues to explore the intangible and evocative, that communicates before it is understood, and the importance of and relationship between scale, surface and the poetic image through a method of layering and reduction that reflects the experience of connection, through history on either a personal or broader level. Subject and shadow are indeterminate, and the viewer is drawn into the work to decide between what is ‘real’ and what is not. More importantly, it is hoped that the viewer will experience a connection of experience through the work. This new body of work will be exhibited later in the year as part of her Master’s degree submission.

Christopher Beaumont (b.1961)
Still Life with Quince, Artichoke and Ivy 2006
Oil on linen
76 x 84cm

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

Kerry Lester
Aridne auf Naxos
Woodcut print 42/60
76.5 x 56.5cm
Commissioned by the Australian Opera for its
Australian Opera's 40th Anniversity Print Portfolio
(to be sold individually)
no.7733

Geoffrey Proud (b. 1946)
Near the Orchard – a Study in Black 2008
oil on canvas
89 x 120cm
no.9843

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.

Tomasz Talaj (b. 1964)
Epic Flight 2007
Oil on plywood
10.5 x 15.3cm
no. 9432

Sarah Edmondson
Untitled (Lemons on a Pink Plate) 2003
Oil on canvas
30 x 30cm
Signed 'sarah edmondson '03' lower right
no.8091

Stephen Nothling (b.1962)
Swimming Bird II
Oil on canvas
10 x 10 cm

Known for his paintings of paradise–evoking roses, this exhibition of paradise landscapes was born out of Nothling’s monumental 2008 self portrait entitled Self Portrait out the front, exhibited in the Salon de Refusés last year. The work was in homage to Nothling’s own paradise – his home on the outskirts of Brisbane – and from it emerged this larger series loosely based on local Brisbane landscapes.

Immersed within the idea of paradise and perfection, Nothling created the fictional, ‘Nowhereland,’ an imaginary destination which acts as a backdrop for his pictorial theatrics. In Nowhereland Nothling’s parachuted navigator, (perhaps the pilot from the biplane in Joyflight) descends gently to the middle of nowhere.

Victor Rubin (b.1950)
Still Life II, Jan 1975
oil on masonite
15.2 x 20.3 cm
Signed and dated lower right 'Jan 75 VR.'
no.10731

Painted when Rubin was in his early to late 20’s the boards have been archived in Victor’s studio since they were painted. The period covers 1974-1976 with the majority of paintings from 1974-75 when he was living in Raine Street Bondi Junction in Sydney. This period of his work follows on from his involvement with the famous Yellow House in Macleay Street, Potts Point where he exhibited in 1971 at which point the Yellow House attracted the most cutting edge contemporary artists of the time including Brett Whiteley and others. The period is also marked by a strong influence from John Olsen who was Rubin’s teacher at the Bakery Art School and who remains a close friend.

Artwork of the Day - Nothling - Nowhereland like Hollywood

Stephen Nothling (b.1962)
Nowhereland like Hollywood
Graphite on paper
107 x 150cm
no.11043

Immersed within the idea of paradise and perfection, Nothling created the fictional, ‘Nowhereland,’ an imaginary destination which acts as a backdrop for his pictorial theatrics. In Nowhereland Nothling’s parachuted navigator, (perhaps the pilot from the biplane in Joyflight) descends gently to the middle of nowhere.

GALLERY NEWS 12 JANUARY 2010: John Coburn, Tim Storrier, Elisabeth Kruger

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

John Coburn (1925-2006)

John Coburn (1925-2006)

Ah What is a Man (That you should be so mindful of him?) 1987
Oil on canvas
122 x 90cm
inscribed verso: John Coburn / Ah, What is Man
(That you Should be Mindful of Him?) / (oil) 1987
Provenance: The Artist
no.4961
cat no.8

Exhibited:
Mandorla Art Prize, October 1987
Macquarie Galleries, Sydney 8-26 November 1988, cat.no.8 (label affixed verso)

Coburn was always interested in religious subjects and painted the spiritual in many forms throughout his career. He entered numerous awards for religious art and was the recipient of numerous coveted awards including the 1960 and 1977 Blake Prize, the 1963 Mirabooka Prize and the 1996 Mandorla Prize. The Mandorla Prize was established in Western Australia in 1985 with the annual theme set around biblical texts. In 1987 the theme was “The Glory of God and Dignity of Man” from Psalm 8 verses 3-4. The present painting entered that year Ah What is a Man (That you should be mindful of him?) 1987 addresses that question to God from insignificant Man.

As Nadine Amadio writes, Ah, What is Man, “is like a radiant stained glass window drenched in vibrant colour. The dynamic figure of Mankind is still, however, very much a symbol surrounded by symbolic shapes. The colour brings it into that mythical realm evoked by the great stained glass windows both ancient and modern. It is a world where static figures are given life and passion by the streams of light passing through them, as if through a transformer.”1

Undoubtedly his first figurative painting in over thirty years, Coburn submitted this work to the Mandorla Art Prize in October 1987. It inspired a series of drawings and paintings on the subject that would return him briefly to figuration for the next two years.

1Amadio, N., John Coburn: Painitngs, Craftsman House, Roseville, 1988, p.186.

Visit our web site to view other paintings by John Coburn

Tim Storrier (b.1949)

Tim Storrier (b. 1949)
The Night Line / Comet 2009
Acrylic on canvas
61.5 x 122.5 cm
no.11150

At the age of nineteen in 1968, Tim Storrier was the youngest ever recipient of the Sulman Prize, an award also conferred on him in 1984. He studied graphic design at the National Art School, Sydney, and has travelled extensively to the USA, Europe, China and the Middle East. His study tours to Egypt and Central Australia conveyed to him the vastness of the landscape and remote civilisations. The 'Burning Rope' series began as a site-specific installation in Central Australia and portrays a line of fire invisibly suspended between two points, mirroring the horizon line in the distance. Storrier is interested in the spiritual significance of reduced landscapes, the ephemeral gestures left by human interaction with nature and fire as representation of both devastation and renewal. There is a tension in his work between beauty and decay: his evocative use of texture and colour in the atmospheric effects at daybreak and dusk, are counterbalanced by destructive or gruesome elements like fire, snakes and slabs of meat.

Visit our web site to view other paintings by Tim Storrier

Elisabeth Kruger (b.1955)

Elisabeth Kruger (b.1955)
Spill 2007
Oil on linen
122 x 122cm
no.10885

Awarded the prestigious Moet & Chandon Art Fellowship (1989) and an overseas studio residency with the Visual Arts Board of the Australia Council (1990), Elisabeth Kruger is recognised as one of Australia's leading contemporary artists. In her newest series of paintings, Kruger explores the luscious beauty of flowers, painting in a unique and encompassing macro perspective. These are stunning floral masterpieces with a contemporary edge. Her work is represented in the Australian National Gallery, The National Gallery of Victoria, the Parliament House Collection, Macquarie University and major private collections.

Visit our website to view other paintings by Elisabeth Kruger

Arthur Boyd (1920-1999)

Arthur Boyd (1920-1999)
Portrait of Alannah Coleman I c.1971
Oil on canvas
76 x 63 cm
no.3160

Arthur Boyd’s paintings of art world personalities such as this portrait of the art dealer Alannah Coleman, a figure celebrated for her undying commitment to promoting the careers of Australian artists at home and abroad in the 50's and 60's, are masterfully executed expressions of the sitter. Boyd translates the nuances of his subject in vigorous strokes of yellow, blue and red, which animate the painterly surface. The subject eventually relocated to London in 1950 were she continued to expose British audiences and collectors to works by Australian artists.

Visit our website to view other paintings by Arthur Boyd

Eubena Nampitjin (b.c1921)

Eubena Nampitjin (born c.1921)
Kunawarritjic
Acrylic on linen
100 x 100cm
Warlayirti Artists # 860/04
verso: Warlayirti Artists 1000 x 1000
Eubena Nampitjin 860/04
no. 8597a

Eubena Nampitjin is represented in all state galleries including the National Gallery of Australia, many regional galleries as well as many other public collections throughout Australia.

Eubena has painted some of her country south west of Balgo, along the Canning Stock Route. The circle to the right of the painting represents Kunawarritji (Well 33) and is the place where Eubena would often hunt. The circle to left is a small tjurrnu and a place where women dance. The strong lines in the painting depict the tali (sandhills) that dominate this country.

Visit our website to view other paintings by Aboriginal artists

New in the Gallery

Matthew Perceval (b.1945)

Matthew Perceval (b.1945)
Yankannina Kimberley 1996
Oil on Board
91 x 61cm
no.11187

Matthew Perceval's landscapes are filled with light and fresh energy due to his dynamic brushstrokes. Matthew, the son of John Perceval and Mary Boyd, was born in Australia but spent the majority of his early formative years in London before moving to the south of France. The vivid colours of the Mediterranean had a positive influence on his work and during his time in France he began exhibiting all over Europe and had his first one man show in London in 1967 (with Arthur Boyd making the first purchase from the exhibition)1. The tone and mood of the paintings are set via the colour scheme ranging from pure brilliant tones to soft palettes of blues and creams. His paintings can be found in numerous public and private collections in Australia and abroad. The National Portrait Gallery held the first solo exhibition of Perceval's portraits in late 2007 - early 2008.

1 Sayers, A., 'Painters' Paradise', Portrait Magazine, Summer 2007-2008, p.12

Visit our website to view other paintings by Matthew Perceval

Matthew Perceval (b.1945)
Wallum Bush 1989
Oil on Board
46 x 36cm
no.11188

Visit our website to view other paintings by Matthew Perceval

Tessa Perceval (b.1947)

Tessa Perceval (b.1947)
Bush Creek Waterfall, South Wales
Oil on linen
76 x 91cm
no.9877

Tessa Perceval was born in Melbourne in 1947, the eldest daughter of John Perceval and Mary Boyd. She is primarily a self taught painter, although she studied art for a short time in London in the 1960's and in Florence in 1971. She held her first solo exhibition in London in 1971 and since then has exhibited widely in Australia and the U.K.

Throughout her career as a landscape painter she has travelled extensively, painting on location in many parts of Europe, the UK, Ireland and Australia. Based in London for most of her adult life, she now lives with her family in Herefordshire near the south Wales border, returning to Australia periodically. Her work is in public collections in Australia and in private collections internationally.

Visit our website to view other paintings by Tessa Perceval

Sale

Harold Abbott (1906-1986)

Harold Abbott (1906-1986)
Mantle Shelf
Oil on canvas
44 x 46.5cm
no.3551

Beginning his art studies under the tutelage of Julian Ashton at the Sydney Art School in 1923, Harold Abbott's career as a painter and art teacher spanned several decades. He was awarded the NSW Society of Artists Travelling Art Scholarship in 1931 and later went on to win the Sulman Prize and to serve as the official war artist for Australia in 1943 during World War II. Abbott always possessed an appreciation for still life and genre painting, an interest that enabled him to effectively apply a narrative element to his war scenes as well as subtly infuse everyday objects with a stoic sense of beauty and purpose. Abott's works are included in national collections ranging from the National Gallery of Australia to the Australian War Memorial.

Visit our website to view other paintings under $5,000

Mike Parr (b.1945)

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

Visit our website to view other affordable works on paper

Contemporary Paintings

Stephen Nothling (b.1962)

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

Having won a handful of prestigious art awards as well as having been a finalist for the Dobell Drawing and Archibald Prizes, Stephen Nothling has remained an Australian art world favourite. The internationally exhibited artist is perhaps best known for his sensitive yet bold representation of roses in various stages of bloom, a cycle he likens to the arch of his own human potential. Much of his work incorporates elements and objects from nature, juxtaposed with surreal backgrounds or rendered in a mildly stylised and graphic treatment.

Visit our web site to view other paintings by Stephen Nothling

Wayne Eager (b.1957)

Wayne Eager (b.1957)
Backyard View 2008
acrylic on linen
122 x 137cm
no.10784

Beginning his art career as a founding member of the Melbourne-based art collective Roar Studios in the 1980's, Wayne Eager has continued to involve himself with the support of grassroots Australian art communities. In the early 1990's he relocated with his wife, Marina, to Haasts Bluff, NT where he became involved with the establishment of the Ikuntji Women's Centre and later became Field Officer for the Papunya Tula Artists. He has always maintained a solitary approach to painting his surrounds of the desert bush yet continues to be inspired by the work of neighbouring indigenous art communities. His paintings are a careful consideration of the constantly changing desert landscape with a nod to Western art movements, namely Abstract Expressionism.

Visit our website to view other paintings by Wayne Eager

Pam Sackville (b.1944)

Pam Sackville (b.1944)
Poppies III 2008
Watercolour on arches paper
105 x 75cm
no.10134

Pam Sackville has been painting with watercolour for over 20 years – her dedication to the medium won over by the translucency and vibrancy of watercolour and by the way the colours run and blend together to create their own hues. Sackville frequently paints flowers, as she is intrigued by their softness, delicacy and fragility. Over her many years of painting flowers she has developed a great passion for them and through her work explores different ways to express their vibrant beauty. Sackville will be exhibiting at Eva Breuer Art Dealer in April.

Visit our website to view other paintings by Pam Sackville

Christopher Beaumont (b.1961)

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

With a strong background in maths and sciences and an eye for intriguing composition and design, Christopher Beaumont fuses these proclivities into a unique aesthetic that gives his paintings a delicate and crisp precision. In his final year of art school, Beaumont became fascinated by seventeenth century Spanish life paintings, particularly the stark, geometric compositions of fruit and vegetables. Utilising digital design software, Beaumont compiles digital photographs to create a composition that is then transferred to canvas by use of a grid. His exacting and methodical approach gives the objects a sharp and luminous three-dimensional quality with a sophisticated sense of style.

Visit our website to view other works by Christopher Beaumont

Featured Graphic

Anne Smith

Anne Smith
Odalisque I
Etching 14/50
19.5 x 24cm (image)
38 x 57cm (paper)
no.10865

U.K. born and having resided in Australia since 1971, Anne Smith has been in collaboration with artists such as Garry Shead, Wendy Sharpe, Bernard Ollis and Alan Peascod on their series of etchings. After establishing an etching studio in Sydney, Smith moved her studio to the Blue Mountains and opened the Falls Gallery in 1989. She has exhibited locally and internationally with shows in Bulgaria and Japan. She was a finalist for the 8th World mini Print Exhibition and the National Print Awards.

Visit our web site to view other graphics by Anne Smith

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: Birds

Artists include: Brett Whiteley, Sidney Nolan, John Olsen, Song Ling, Stephen Nothling, Tomasz Talaj, and Marika Borlase