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.
The collection of Lewis Morely; Private collection, Sydney
Includes: (1) Christine Keeler Seated with Chair, 1963, printed 2011, C-type photograph printed on Fuji Crystal Archive Flex paper, edition 48/150, signed in ink in lower margin, 30.5 x 40.6cm (2) Lewis Morley: I To Eye, T&G Publishing, Sydney, 2011. Hardcover book with dust jacket, 400 pages with over 270 duotoned and colour photographs; 8.1 x 47 x 36.4cm (box). (3) Eight-page booklet entitled Lewis Morley: The Hidden Nude with text by Lewis Morley.
The artist Ann Robin Banks was a close friend of Cynthia Nolan and worked on the Eureka Stockade mural with Sidney Nolan. This mural was commissioned for the Reserve Bank of Australia in 1965 and is now housed at the Australian National University, Canberra.
The artist Sidney Nolan rented Ann Banks’ studio in Fulham and eventually purchased it when she moved to Scotland.
1955-56 marked a pivotal point in the trajectory of Nolan’s career. The artist travelled extensively not only to Gallipoli, Turkey, India and Cambodia but also spent nine months living on the Greek island of Hydra, reading Robert Graves on the pre-Hellenic Myths and introducing mythological iconography into his work. He also visited Italy finding inspiration in Etruscan art and the archaeological discoveries of Pompeii while simultaneously finding a great sense of familiarity in these foreign lands to native Australia. Having found strong influences on these travels Nolan went on to produce new bodies of work that reenergised his subjects.
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.
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.
Australian Galleries, Melbourne label attached verso (no.9451); The collection of Arkie Whiteley; The Estate of the late Christopher Kuhn, Canada
Brett Whiteley created this work in Paris in 1989. It was his second visit to the city and resulted in his celebrated Paris series of gouaches and drawings. Here is a quote from Whiteley relating to this period of his work;
“I first went to Paris at age 20, but was so obsessed with modernism and abstraction to paint it. Now with fresh eyes, I could respond figuratively and lyrically to the one ravishing subject – Paris and her cultural heroes. I love the stoniness and creaminess, that wonderful soiled magnolia feeling. Paris is so sensual, beautiful, flirtatious, mischievous, arrogant, orderly, civilised. They call Paris a whore because she seduces you on every corner, and every street I turned, I could see another picture.”
This work has a wonderful provenance having been in the collection of Whiteley’s daughter Arkie.
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.