Experimental Windflower Montage With Shadow Pattern, 1939
vintage silver gelatin photograph
inscribed with photographer’s name, title, date and signed by daughter Sally McInerney in pencil verso
37.6 x 30.2cm
This montage was created by overlaying two photographic negatives, creating a simple yet enchanting floral composition. A variant of this image is illustrated in two books, both written by Professor Helen Ennis, Olive Cotton, Photographer, NLA, 1995, p63, and in Olive Cotton, AGNSW, 2000 (p. 51).
In 1929, at the age of 18, Olive Cotton became a member of the Sydney Camera Club and the Photographic Society of New South Wales. She graduated from Sydney University with a Bachelor of Arts, majoring in english and mathematics. She joined Max Dupain’s studio shortly after completing her studies, marrying him in 1939. During the war years Cotton ran Dupain’s studio while he was away on war service. Today, she is recognised as a major contributor to Australian photography.
photograph signed by photographer’s son Rex Dupain in pencil in authentication stamp on backing verso
29.9 x 24.7cm
“Dupain’s people photographs of the 1930s and 1940s, taken on Sydney’s most popular beaches, Bondi and Manly, show Australians in the prime of their relationship with their beaches. Money was tight and the beach was free, a relaxing sense of propriety was allowing more freedom in dress and conduct, work hours were accommodating and electronic entertainment hadn’t begun to keep youth indoors. It was an environment rich with possibilities for Dupain, at ease on the beach both as an attractive athlete and a photographer nurturing an inner voice which, he wrote, would spontaneously ‘call out …. and behold, there [the picture] is’.
In a time when the outback dominated intellectual concepts of Australian identity, Dupain was photographing a beach mythology far more real to most Australians than the wide dry spaces of the inland. Few Australians lack light infused memories of a beach and long lost hours spent between cool, turbulent water and warm, quiet sand.”
Jill White, Dupain’s Beaches, Chapter & Verse, 2000, p. 74
Wynne Prize Finalist Award, The Art Gallery of New South Wales, 2001
Ildiko Kovacs’ magnificent painting entitled Escarpment was a finalist in the Wynne Prize in 2001. This fine example of her early work reveals a strong sculptural presence and vibrates with rich energy and passion. Ildiko’s work demonstrates a masterful grasp of paint’s materiality, with a bold and direct application of line and colour. She has a dazzling ability to sculpt line as if it were a three-dimensional form rendered flat. A number of these earlier and pivotal works open a dialogue between western traditions of abstraction and indigenous art.
Works by Ildiko Kovacs are held in National Gallery of Australia; Museum of Contemporary Art, Sydney; Art Gallery of New South Wales; Newcastle Regional Art Gallery; Allen Arthur Robinson Collection; Artbank; Bathurst Regional Art Gallery; Campbelltown City Arts Centre; Gold Coast City Art Gallery; Hamilton Art Gallery, Victoria; Macquarie Bank; Maitland Regional Art Gallery; National Gallery of Australia; National Gallery of Victoria; Riddoch Art Institute; World Bank, Washington DC, USA; Visy Corp, Melbourne; Various private collections
Private collection, Australia;
Bridget McDonnell Gallery, Melbourne (label attached verso);
Sotheby’s, New York, 31 October 1984, lot 143;
Severn Family Foundation Collection;
Bonhams, Important Australian Art, 24 August 2021, lot 71;
Private collection, Sydney
Allen D. Christensen Collection, California (label attached verso);
On loan to the Art Gallery of Western Australia, Perth (label attached verso);
Deutscher Fine Art, Melbourne;
Company collection, Adelaide;
Deutscher-Menzies, Australian and International Paintings, Sydney, 5 March
2002, Lot 50;
Private collection, Sydney
The Land Beyond Time; paintings and drawings by John Olsen, Art Gallery of Western Australia, May 1984, cat. 97/98; touring exhibition to Queensland Art Gallery, Brisbane, 21 November 1984-6 January 1985; Newcastle Region Art Gallery, 8-29 September 1985; Wollongong City Gallery, 1 November-8 December 1985; Perc Tucker Regional Gallery, Townsville, 3 January-9 March 1986; Tamworth City Gallery, April-May 1986; Orange Regional Gallery, 1 June-7 July 1986; Lewers Bequest and Penrith Regional Art Gallery, July-September 1986; Wagga Wagga City Art Gallery, October 1986; Westpac Gallery, Victorian Arts Centre, Melbourne, November 1986; Araluen Art Centre, Alice Springs, December, 1986; Shepparton Art Gallery, December-January 1987; Nolan Gallery, Lanyon, February -31 March 1989; Centre Gallery, Gold Coast, 17 June-13 August 1989; Manly Art Gallery, 7 September-15 October 1989; North Adelaide School of Arts, March 1990..
The beauty of the Kimberley landscape has had an enduring influence on John Olsen’s work since his first visit to the region in 1982.
Olsen described his engagement with the Kimberley as having ‘an impact which makes one strive for familiar points of reference: to compare the complex of channels through the Wyndham salt flats to the gigantic nervous system, or the strange rock formations of the Bungle Bungle to abandoned Buddhist temples. It is as though the observer is forced to seek a key to their messages, but there really is no point in making such comparisons because the North-West remains unique: a territory with a fearful fascination and an unforgettable charisma which have no relationship to any other human experience.’1
1. Preface in Olsen, J., The Land Beyond Time, The Macmillan Company of
Australia, Melbourne, 1984
Collection of the artist;
Private collection, Queensland
A magical feeling for the spirit of place combines with a grand vision of the ocean and adjacent landscape in this large scale, light-filled work. Here the artist, as expressed in his own words, invites the viewer ‘…to live in the vision itself.’ The Robinsons purchased a retreat near Byron Bay in 2005 and the paintings from this area are both rare and among the artist’s finest.
The beautifully detailed foreground foliage in the present picture demonstrates aptly William Robinson’s exceptional skills as a colourist, and in the rendering of the ocean his ability to capture extraordinary effects with clarity of light.
Of his solo exhibition at the Ray Hughes Gallery in 1994, critic John MacDonald stated ’Robinson is the only non-Aboriginal artist since Fred Williams and John Olsen to give… an entirely new view on the Australian landscape’.
William Robinson is represented widely in public collections, including the National Gallery of Australia; Australian university collections; Parliament House, Canberra; many Australian regional galleries; Artbank; Museum of Brisbane and State Library Queensland; all Australian mainland state collections; and internationally in the collection of the Metropolitan Museum of Art, New York; The Vatican Museum, Vatican City; the Auckland Art Gallery and Waikato Art Museum, Hamilton in New Zealand.
acrylic and natural pigments on Japanese mulberry paper
paper signed and inscribed "Waterfall, H. Senju, 2018" on reverse
130 x 162cm
Sundaram Tagore Gallery, Hong Kong;
Private collection, Sydney
Japanese-born painter Hiroshi Senju is noted worldwide for his sublime waterfall and cliff images, which are often monumental in scale. He combines a minimalist visual language rooted in Abstract Expressionism with ancient painting techniques unique to Japan. Senju is widely recognized as one of the few contemporary masters of the thousand-year-old nihonga style of painting, using pigments made from minerals, ground stone, shell and corals suspended in animal-hide glue.
Senju’s work is in the collections of The Metropolitan Museum of Art and the Brooklyn Museum, New York; the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles; the Asian Art Museum, San Francisco; the Nelson-Atkins Museum of Art, Kansas City, Missouri; the Royal Ontario Museum, Toronto; the Museum of Modern Art, Toyama, Japan; the Yamatane Museum of Art, Tokyo; Tokyo University of the Arts; and the Kushiro Art Museum, Hokkaido. The Hiroshi Senju Museum in Karuizawa, Japan, opened in 2011 as a gallery devoted in its entirety to the artist’s work.
Estate of the artist, Sydney. Thence by descent; Frannie Hopkirk, New South Wales, the artist’s sister; Private collection, Sydney, acquired from the above in 1997; Deutscher and Hackett, Australian + International Fine Art and Aboriginal Art, Sydney, 30/11/2016, Lot No. 81; Private collection, Sydney
‘The purpose of drawing is to make freshness permanent to trigger astonishment.”
Brett Whiteley ,1985
This serene work by Whiteley was created in the early 1980s. The tonality and layering of the inks demonstrate aptly the artist’s growing interest in calligraphic brush stroke techniques. Whiteley was fascinated with both eastern philosophies and painting techniques during this period of his oeuvre. Stylistically, Brett Whiteley’s Lake in Bali (Lake Kintamani) references traditional Chinese painting. In Chinese tradition mountains buzz with the energy of qi, draw rain clouds to the rice fields and provide shelter to the Immortals. Compositionally, this ‘one-corner’ picture gently leads the gaze away from the corner of the frame.