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 Paper55.5 x 75 cmInitialed 'BW' lower rightIllustrated: Brett Whiteley: Paris Regarde de Côté, Australian Galleries, 1990, Plate 41.Provenance: Australian GalleriesPrivate collection Melbourne since 1992no.11042 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
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.
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