Zadok Ben-David’s fine and exquisite sculptures play with shadow and light. So typical of his work, Up and Above explores the renewal and connectedness of natural forms.
Ben-David is an internationally acclaimed London-based artist. Born in Yemen and raised in Israel, he studied at London’s St. Martin’s School of art, where he also taught from 1977-1982. In 1988 he was selected to exhibit as Israel’s representative at the Venice Biennale.
Considered one of Australia’s greatest painters, Ian Fairweather created this work at Bribie Island in Moreton Bay off the coast of Brisbane, Queensland. In 1953, after years of nomadic wanderings throughout Asia, the Scottish born artist settled on the scrubby island where he lived a reclusive and ascetic existence in a studio-shack built of driftwood and scrap.
At this rudimentary shack with no running water or electricity, Fairweather created powerful paintings and drawings of extreme beauty and profound sensitivity. This work, painted in 1959, is among a group described in Murray Bail’s definitive book, Ian Fairweather.
‘Towards the end of 1959 Fairweather was at an age – approaching seventy – when most artists opt for safety, or find themselves on shallow exhausted ground. Earlier in 1959 he had exhibited War and Peace; by November he made the leap into the unknown demanded by total abstraction. If not exactly a leap, a final slide.
Am sending today one package of paintings (20). They are mostly done on newspaper (as I ran out of other paper) . . . They are also (mostly) without titles – for they really refer (mostly) to nothing in particular – sort of soliloquies – I suppose will have to come under the heading of abstracts.
They were gouaches and (mostly) grey: black on grey, grey with brown, grey mixed with blue and one with an uncharacteristic lipstick pink.’ 1
1 Murray Bail, Ian Fairweather (First published in Australia 1981 by Bay Books) p. 160
In the Autumn of 1825, Glover travelled to Scotland, including the Western Highlands. On the front page of his sketch book ’48, he notes both the dates of the journey (August 30 to October 27) and the fact that he ‘made 158 sketches and 6 pictures in oil’. Not only is there a study for this work in the sketchbook (f19v), but it is also listed amongst those completed during the tour. It shows a view south-west from Garroch Head across the Sound of Bute to North Arran and the deep valley of Glen Sannox, with the ruins of St Blane’s church to the right.
Glover may have gone to the west coast to visit the Marquess of Bute at Mount Stuart, near Rothesay. Two drawings in the same sketchbook show views from the “lower terrace at Mount Stuart”. His Lordship’s grandfather, the 1st Marquess, had been a great connoisseur of paintings and manuscripts, and his collection included a Raphael, a Velasquez, two Titians and numerous Dutch and Flemish paintings, amongst them a Rembrandt, two Cuyps and four Rubens. However, the 2nd Marquess suffered from a severe eye disease and was near blind. It is unlikely that he took much notice of paintings and painters. Lady Bute, on the other hand seems to have had cultural interests, and may have patronised Glover. John Richardson Glover’s will includes a reference to a “telescope with the apparatus appertaining thereto which was presented to my father by Lady Bute”.
Whatever the nature of the visit, it certainly proved productive. The following year, glover showed eight Scottish subjects at the Society of British Artists. Six (including this one) were of Bute and Arran. This work either did not sell at the time or was kept by the artist as a favourite, for it was one of the pictures included in his emigration sale of 1830. (A8182)
metal, resin and plaster pills and watercolour on canvas
27.9 x 35.5cm
Private Collection, Australia
Science UK Limited, London
Twenty Four Hours is an artwork from Hirst’s Remedies series, which was featured in Damien Hirst: Poisons + Remedies, anexhibitionat Gagosian Gallery, London in 2010. Works in the Remediesseries hold motifs of both redemption and antidote in their topographical depictions of real-like coloured resin and plaster pills scattered on a white canvas. The execution of realism in Hirst’s work is heightened in the washes of watercolour smudged into the white canvas around some pills conveying their active and absorptive chemical qualities. Underpinning the power of pharmaceutical substances Hirst expands on an earlier series of medicine cabinets, which he did in 1989 where pharmaceutical drugs were also featured in wall-mounted cabinets.
John Mawurndjul is one of the most senior artists working in the Maningrida region of Central Arnham Land and one of our country’s leading Aboriginal artists, renowned for his innovative ‘raark’ stye of rhythmic, cross-hatching, derived from the Mardayin ceremony and traditional body painting. Mawurndjul’s innovative treatment of these designs has involved a gradual movement into deeper abstraction and amplification of the shimmering, mesmerising qualities of his layered fine lines and multidirectional bands of colour.
In 2006 the artist was invited to create two original pieces for installation at the Musée du Quai Branly in Paris: these works form part of the very fabric of the building with a breathtaking ceiling by Mawurndjul accompanied by a large column that he painted in the signature style of his Lorrkon or hollow logs.
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.
Australian Galleries, Melbourne (label attached verso);
Private collection, Sydney
Australian Galleries, Melbourne, 23 October 22 November 1995 (label attached verso);
Art Gallery of New South Wales, Margaret Olley Retrospective, 25 October 1996 5 January 1997, Sydney, Brisbane, Newcastle (label attached verso)
stamped lower left with artist's monogram, dated lower right 21 Aug 79
52 x 41.5cm
Acquired directly from the artist; private collection Canada, since 1984;
Menzies, 10/08/2017, Lot No. 32;
Private collection, Sydney
In 1948, at the age of nine, Brett Whiteley was enrolled as a border at The Scots School in Bathurst. It was here that Whiteley gained a deep perception and understanding of the Australian landscape, which he conveys exquisitely in Approaching Storm. Whiteley’s lush, green rolling hills with heavy boulders and sturdy trees are so characteristic of the surrounding countryside. There is an impressive depth to the composition, from the approaching rain and clouds in the background to the valley in the middle-distance and the three-dimensional boulders at the fore. Three-dimensional effects, signature to many of Whiteley’s paintings, are evident in the thick applications of paint in the boulders. Whiteley’s picturesque, verdant valley is imbued with a deep sense of tranquility and solace that he found in his visits to the countryside of Bathurst where he often visited his sister.
Brett Whiteley’s ceramics are among his rarest and most delicately lyrical works of art. Here the artist has hand-painted and glazed upon a ceramic dish fine sprigs of blossom, possibly peach or plum. The artist’s signature indigo blue sings against the minimal ceramic background and the circular, almost calligraphic composition is beautifully resolved.