Private Collection, Sydney

David Aspden is considered one of Australia’s foremost ‘colour-field’ abstraction painters. Gaining prominence in the 1960s he continued painting up until his death in 2005. Inspired by colour, music and landscape, this monumental painting is one of the finest examples of the artist’s mastery at conveying the relationships between these themes.

The composition is a visual melody that gently shifts as the eye focuses on the changing areas of colour. Similar to the Jazz music he loved, the lyrical approach to his painting is emphasised in Pennant Hills by the energetic gestural marks that dance across the canvas. Aspden worked cleverly with the harmony and collision of colours, conveyed in the subject work with softs hues of cool mauves and purples juxtaposed with warm tones of pinks and reds.

Private Collection;

Fine Art, Leonard Joel, Melbourne, 22 March 2016, lot 30, illustrated;

Private Collection, Sydney, acquired from the above;

Important Australian Art, Sotheby’s Australia, Sydney, 20 Nov 2019, lot 5;

Private collection, Sydney

1980 saw Cressida Campbell travel to Japan to study at the Yoshida Hanga Academy in Tokyo where she refined her woodblocking and waterpainting techniques. This process, involving etchings on plywood, gentle layers of watercolour and a painstaking printing process lends her oeuvre a depth and refinement that brought her into the spotlight following her return to Sydney; she exhibited at the Hogarth Gallery in 1983 (where this particular work was on show), Stephen Mori Gallery in 1985 and Rex Irwin Art in 1989. 

The Qantas Collection;

Sotheby’s, Important Australian Art, Sydney, 07/05/2007, Lot no. 13;

Private collection, Sydney

Fine art photographer Matt Draper brings his creative vision to existence through unconstrained immersion, revealing life beneath the surface.

By patiently navigating through untamed environments, Draper seeks to better understand each individual species he interacts with. Working with only natural light on a series of single breaths, he manoeuvres concept to creation with minimal disturbance. Draper’s art breaks barriers between human and animal, merging realms and revealing distinct characteristics of unfamiliar physicality and hidden intuitive behaviours — resulting in a dynamic balance of vastness and intimacy.

A Matt Draper fine art print is unique and exclusive, belonging to a signature series of work. Each edition is limited in release, individually numbered, and accompanied by a certificate of authenticity. Focusing on curated exhibitions, Draper is creating notable recognition and expanding his audience, partnering with distinguished scientists and explorers to convey the importance of our natural world through art. Draper’s work is part of renowned private collections, with most editions sold before publicly viewed or displayed.

Fine art photographer Matt Draper brings his creative vision to existence through unconstrained immersion, revealing life beneath the surface.

By patiently navigating through untamed environments, Draper seeks to better understand each individual species he interacts with. Working with only natural light on a series of single breaths, he manoeuvres concept to creation with minimal disturbance. Draper’s art breaks barriers between human and animal, merging realms and revealing distinct characteristics of unfamiliar physicality and hidden intuitive behaviours — resulting in a dynamic balance of vastness and intimacy.

A Matt Draper fine art print is unique and exclusive, belonging to a signature series of work. Each edition is limited in release, individually numbered, and accompanied by a certificate of authenticity. Focusing on curated exhibitions, Draper is creating notable recognition and expanding his audience, partnering with distinguished scientists and explorers to convey the importance of our natural world through art. Draper’s work is part of renowned private collections, with most editions sold before publicly viewed or displayed.

Sir James McGregor, Sydney;

Sir Charles Lloyd Jones and Lady Lloyd Jones, Sydney;

The Lloyd Jones Collection, James R. Lawson, Sydney, 9 April 1981, lot 706;

Mr Cecil Green, Sydney;

The Estate of the Late Mrs Marjory Green, Sydney;

Important Australian Art, Sotheby’s Australia, Melbourne, 17/05/2011, Lot No. 82;

Private collection, Sydney

Private collection, Brisbane

Philip Bacon Galleries, Queensland;
Private collection, Sydney

David Rankin, Powell Street Gallery, Melbourne, 1972; Charles Nodrum Gallery, 2011; Private Collection,Melbourne

Note: the ‘Gibbon’ is Gibbon’s Beach, Bundeena, south of Port Hacking, where the artist stayed in the early 1970s.

David Rankin is a New York based Australian artist. Born in Plymouth, England in 1946, he emigrated to Australia in 1948. Interested in the merging of western, eastern and indigenous art, Rankin sees the role of Australian artists as one of authentically and truthfully absorbing those nearby cultures and spiritual beliefs, and integrating these elements into individual works. Throughout the past thirty years, Rankin has held over 100 one-person exhibitions worldwide; he is represented in many of the world’s leading collections and museums.

Private collection, Queensland

It has been said that William Robinson has changed the way we perceive the Australian landscape. His vision is a unique one and paintings from the artist’s most popular rainforests series reveal the enduring power of nature from a multi-dimensional perspective. These paintings inspire awe with their multi-perspective views of the lush rainforest canopy and as a viewer one feels swept into, around and throughout the picture.

In 2003 Robinson’s major works were surveyed at the S.H Ervin Gallery in Sydney. The year 2003 was a high point in the artist’s career and the rainforest paintings from this period are widely regarded to be among the artist’s finest works.

Collection of Michael Tuckson

Tuckson undertook his final year of study in 1949 at East Sydney Technical College under the Commonwealth Reconstruction Training Scheme for exservicemen. The figurative works from this period, through to the mid- 1950s, are among Tuckson’s most accomplished – they are raw, painterly and powerful. Each is masterfully constructed. While the influences of Picasso, Modigliani and Klee are apparent, the artist cited his two most inspiring mentors at the time to be Grace Crowley and Ralph Balson. Both these artists taught him briefly with their weekly classes in abstraction at East Sydney