Tjala Arts, Anangu Pitjantjatjara Yankunyjatjara (APY) Lands, South Australia;
Private collection, Sydney
Minyima Tjuta – Many Women, Yaama Ganu Gallery and Tjala Arts, May 2021
Ngayuku Ngura is a vibrant depiction of Muna Kulyuru’s country located in the Amata community of the APY Lands, South Australia. Muna celebrates the beauty of the landscape with variations of deep earthy tones that contour landmark motifs.
Tjala Arts is located in the Amata community, situated in the Anangu Pitjantjatjara Yankunyjatjara (APY) Lands. About 2500 people live in the region, which covers more than 103,000 square kilometres of arid land in the far north-west of South Australia. Amata is situated among the picturesque Musgrave Ranges, approximately 120km south of Uluru and 500km south-west of Alice Springs.
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
Dr Karen Helms, Christopher Day Gallery, Paddington;
The Estate of the Late Peter Morris, Sydney;
Private collection, Sydney
Autumn Exhibition 1989, Christopher Day Gallery, Paddington, Cat. No. 4
Born in Armidale, NSW in 1879, Thea Proctor was one of the best-known Australian women painters of her time. Studying in both Sydney and London, Proctor exhibited painted fans, inspired largely by the works of Charles Conder, at the 1907 Women’s Work exhibition in Venice. Upon her return to Australia she helped form The Contemporary Group with G.W. Lambert in order to encourage younger avant-garde painters. Her beautiful pictures underpinned Sydney Modernism throughout the 1920s, and in her later life she did a great deal to bring attention to the work of her cousin, John Peter Russell.
Ben Quilty recalls he conceived this painting as something of a mask – a Captain Cook mask the artist himself could put on to imagine the world through the eyes of the famous 18th century explorer. Having read extensively through Cook’s diaries, Quilty became fascinated by the man’s initial self belief, an attitude that doubtless contributed to him becoming one of maritime history’s most famous navigators, astronomers and sailors. With the passage of time however, Quilty observed violent changes in Cook’s behaviour toward both his crew and the native populations he encountered.
Cook’s bouts of extreme violence, Quilty along with others postulates, was due in large part to debilitating and personality changing gut conditions, the result of chronic disease. In analysing this change the artist states that ‘Mask’ looks at ‘…the good, the bad and the ugly’. The rorschach technique employed is perfect, providing a multiple image which delves into the human psyche, a reflection and investigation of James Cook the man, and his changing psychological states.
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.
One of the first two Indigenous artists to represent Australia at the 1990 Venice Biennale, Rover Thomas’ works sparked a greater appreciation of Aboriginal art, both nationally and internationally.
A desert man, the story of his life is interwoven with that of the Canning Stock Route. Thomas was born in the 1920s and raised in the Country around its middle stretches. At an early age he was picked up by a drover, Wally Dowling, and taken north to Billiluna and the Kimberley. He became a stockman himself, and eventually married and settled at Turkey Creek. There, in the 1970s, he pioneered the East Kimberley school of ochre painting on canvas.
The Collection of Frank Watters, Sydney (Watters Gallery 14/25/002 on verso)
Tony Tuckson Figurative Paintings, Watters Gallery, 30 September – 18 October, 2014, Cat no. 2
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.