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WENTJA MORGAN NAPALTJARRI, born 1945, ROCKHOLES WEST OF KINTORE, 2007
WENTJA MORGAN NAPALTJARRI, born 1945, ROCKHOLES WEST OF KINTORE, 2007, synthetic polymer paint on linenSIGNED: bears inscription verso: artist’s name, size, title and Watiyawanu Artists cat. 77-07-528DIMENSIONS: 177.0 x 177.0 cmPROVENANCE: Watiyawanu Artists of Amunturrngu, Mt. LiebigAP Bond Gallery, AdelaideThe Luczo Family Collection, USAThis painting is accompanied by a certificate from Watiyawanu Artists of Amunturrngu, Mt. Liebig Deutscher and Hackett
BEN NICHOLSON, (1894 - 1982, British), 1972 (OFF PALE GREEN), 1972
BEN NICHOLSON, (1894 - 1982, British), 1972 (OFF PALE GREEN), 1972, pen and ink and wash on paper, laid onto the artist’s board DIMENSIONS: 24.0 x 30.0 cm irreg. sheet EXHIBITED: Ben Nicholson, Andre Emmerich Gallery, New York, 10 May – 29 May 1974 Ben Nicholson, the Arts Club of Chicago, Chicago, 20 September – 29 October 1976 (illus. in exhibition catalogue) PROVENANCE: Galerie Andre Emerich, Zurich (label attached verso) Waddington Galleries, London, UK (label attached verso) Private collection, Milan, Italy (acquired from the above in 1994) Deutscher and Hackett
IAN FAIRWEATHER, (1891 – 1974), NATIVE GROUP, DAVAO, PHILIPPINES
IAN FAIRWEATHER, (1891 – 1974), NATIVE GROUP, DAVAO, PHILIPPINES, 1934, oil and pencil on cardboardDIMENSIONS: 45.5 x 41.0 cmPROVENANCE: Redfern Gallery, London (label attached verso) W.J. Freshfield Esq., London, acquired from the above February 1935Private collection, SydneyPrivate collection, MelbourneEXHIBITED: Ian Fairweather, Redfern Gallery, London, 9 January – 1 February 1936, cat. 43, as Native GroupLITERATURE: Bail, M., Ian Fairweather, Bay Books, Sydney and London, 1981, pl. 10, p. 37 (illus.), p. 39Bail, M., Fairweather, Murdoch Books, Sydney and London, 2009, cat. 19, pl. 14, p. 34 (illus.), p. 35, p. 246ESSAY: From Colombo to Melbourne, then on to Davao in the Philippines via Sydney and Brisbane, 1934 saw Ian Fairweather continuing his ever-peripatetic ways. His stay in Melbourne included friendships with Lina Bryans, William Frater and George Bell, a solo exhibition at Cynthia Reed’s in Little Collins Street, of some twenty unframed oils on paper or cardboard, and a mural commission for the Menzies Hotel. In London, the Contemporary Art Society acquired his Bathing Scene, Bali 1933 for presentation to the Tate Gallery. In Melbourne he left behind such masterly works as Chinese Mountain, c.1933, with William Frater, through Lina Bryans to the Art Gallery of New South Wales; and Head of a Woman, c.1933, from Dr and Mrs Clive Stephen to the National Gallery of Victoria. The next wave of paintings, to which Native Group, Davao, Philippines, 1934, belongs, include Voyage to the Philippines, c.1934, (private collection, London), and Māra 1934 in the Art Gallery of South Australia – rarities – in aesthetic appeal and number.During his few months at Davao (he had left for Shanghai by mid-December) Fairweather lived in a house on stilts, described in a letter of about late September to Frater in Melbourne: ‘…amongst the coconut trees – on the very edge of the beach – there is a kind of village stretching along the shore – underneath my house there are boats, babies, sand, pigs – chickens.’1 His art embraced the life about him. Even in his more figurative works as Native Group, Davao, Philippines, 1934, one cannot but admire the formal sense of structure, colour and painterly appeal. Reviewing his London Redfern Gallery show in which this painting was exhibited, the art critic for The Times commented that Fairweather was ‘a subtle colourist with a preference for the “earth” range, though, … he does not avoid brighter notes when they serve his purpose.’2 Restricted as his palette may be, the colours almost sing in harmony. The application of paint and the support showing through give the work a vivacity related not only to its subject, but also to the overall abstract freedom, carefully considered and aided by the effective use of diagonals. The ongoing influence of Cézanne translates from technique into celebration especially in the play between painted and unpainted surfaces. The wonderful calligraphy of his later works can be sensed in the flow of line harmonizing with the patchwork play of light. Surfaces almost flicker, seen again in Māra and the continuation of that interplay between volume and animated picture plane. Murray Bail identified the scene as a cluster of ‘twelve village youths in singlets and shorts around a cock-fight or spider fight, without overcrowding: a fine impression of forms, of concentrated idleness’.3 While people populate such paintings, it is not their individualities that Fairweather seeks to capture, rather people as part of the great cavalcade of life. 1. Bail, M., Fairweather, Murdoch Books, Sydney, 2009, p. 352. ‘Mr. Ian Fairweather’, The Times, London, 11 January 1936, p. 103. Bail, M., op. cit., p. 35DAVID THOMAS Deutscher and Hackett
ROSEMARY LAING Brownwork #1, 1996 Type C
ROSEMARY LAING Brownwork #1, 1996 Type C photograph 25.0 x 49.0 cm Deutscher and Hackett
OSWALD BRIERLY, (1817 – 1894), THE WANDERER, ROYAL YACHT SQUADRON
OSWALD BRIERLY, (1817 – 1894), THE WANDERER, ROYAL YACHT SQUADRON, 1840, watercolour and gouache on paperSIGNED: signed and dated lower left: O W Brierly 1840DIMENSIONS: 46.5 x 72.0 cmPROVENANCE: Private collection, United KingdomChristie’s South Kensington, London, 7 July 2016, cat. 222Private collection, MelbourneRELATED WORK:Wanderer. Benjamin Boyd Esq and Brig Yacht Wanderer. Benjamin Boyd Esq, c.1840, a pair of lithographs, hand coloured, 32.0 x 47.0 cm and 32.0 x 45.0 cm, drawn and lithographed by Oswald Brierly, Day & Haghe, lithographers to the Queen, published by Edmund Fry, London, and Edmund Fry Jnr., PlymouthESSAY: The British mastery of watercolour is seen at its best in Oswald Brierly’s The Wanderer, Royal Yacht Squadron, 1840. Wind and white waves echo in the billowing sails as RYS Wanderer rides the waters in majesty. Few can rival the genius of Brierly’s marine subjects, as seen again to brilliant effect in Whalers off Twofold Bay, New South Wales, 1867, in the collection of the Art Gallery of New South Wales.Brierly, Benjamin Boyd and the Wanderer share absorbing histories. Brierly studied art in London and naval architecture at Plymouth, meeting Boyd of the Royal Yacht Squadron. Wanderer was part of the Squadron. In about 1840, Edmund Fry & Son, of London and Plymouth, published a pair of lithographs showing the yacht in full sail, from port and starboard sides.1 The similarity between the lithograph of the portside and our watercolour suggests that it was a study or closely related earlier work for the print. The brown ink drawing, The Wanderer, provides another, being a view of the stern and different tack.2 In our watercolour, the Wanderer flies the White Ensign of the Royal Navy, permitted only to members of the Royal Yacht Squadron, its pennant burgee at masthead.3In 1841, Brierly joined Boyd aboard the Wanderer, voyaging to Australia. As she sailed up Port Jackson in July of 1842, crowds gathered on the heights in greeting and the schooner Velocity fired a salute. Brierly spent some years at Twofold Bay, near Eden, managing Boyd’s pastoral and whaling businesses. He also completed further studies of the Wanderer at Sydney in 1846, a wood engraved image after Brierly appearing in the Illustrated London News of 10 April 1852.4Boyd became one of the largest landholders in the colony before his spectacular entrepreneurial enterprises bought him undone. Sailing off into history and mystery, he left Sydney on the Wanderer in October 1849, seeking a new fortune on the Californian goldfields. Unsuccessful, he disappeared on the island of Guadalcanal in October 1851. His body was never found, leading to rumours that he was still alive. The Wanderer continued to Australia, wrecked off Port Macquarie shortly after. Brierly’s separate adventures were just beginning. In 1848, he joined Captain Owen Stanley on HMS Rattlesnake on a survey of the Great Barrier Reef, Louisiade Archipelago and part of coastal New Guinea. At the invitation of commander (later admiral) Henry Keppel, Brierly joined HMS Meander, returning to England round the Horn in 1851. During the Crimean War Brierly rejoined Keppel in the Baltic fleet, making sketches of naval activities for the Illustrated London News. Royal patronage followed when commanded by Queen Victoria to sketch the great 1855 naval review at Spithead. Later appointed official marine painter to the Queen and the Royal Yacht Squadron, he received a knighthood in 1885. Agreeable of personality and companionship, Briely’s second visit to Australia was as guest of the Queen’s son, the Duke of Edinburgh on HMS Galatea during its 1866 voyage around the world. It was one of several voyages undertaken with the Duke. Brierly was greatly admired for the accuracy of his delineation and elegant degree of finish enveloped in an atmosphere of salty sea air, as seen so superbly in The Wanderer, Royal Yacht Squadron. 1. Examples of are in the Nan Kivell Collection of the National Library of Australia, Canberra, and the Mitchell Library, State Library of New South Wales2. The Wanderer, c.1842, brown ink on paper, 12.3 x 19.4 cm, signed with initials and inscribed beneath the image, ‘The Wanderer’3. In the previously mentioned lithographs the Wanderer variously carries the White and Red Ensigns of merchant and other registered British vessels. The variations result from them being hand painted. 4. Nan Kivell Collection, National Library of Australia, Canberra, NK6873 and NK4182/19DAVID THOMAS Deutscher and Hackett
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