stainless steel painted butterflies, perspex box, fishing line
H: 130 x W: 130 x D: 20 cm, Diameter: 95cm
Blackbox is a small version of the installation “The Other Side of Midnight” a circle of 300 cm diameter where the front side features over 2000 hand painted stainless steel butterflies and the other side features insects. The installation is viewed in a dark room, lit by ultraviolet light projectors. Blackbox makes the circle glow in the dark and gives to it an impression of 3 dimensions.
Zadok 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.
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.
Bessie Davidson belongs to that extraordinary group of Australian women artists who led the way out of the backwaters of traditionalism into the adventurous colours and forms of modern art. In Adelaide she studied under Margaret Preston (then Rose McPherson). They travelled and studied together in Europe and held a joint exhibition back in Adelaide in 1907. The following year the Art Gallery of South Australia purchased Davidson’s portrait of Gladys Reynell, another outstanding South Australian artist who worked as a ceramicist. Having previously studied in Paris at the Académie de la Grande Chaumière and exhibited in the Salon de la Société des Artists Français and the Société Nationale des Beaux-Arts, in 1910 Davidson settled there. She had ‘fallen irretrievably in love with Paris, and more precisely with Montparnasse’, rapidly becoming the artistic hub. From 1912 onwards, her apartment in the Rue Boissonade became her lifelong home and studio. During World War I she worked as a nurse, bravely volunteering to care for typhoid patients. At war’s end, she was awarded La Médaille de la Reconnaissance Française.
Like Rupert Bunny, Davidson exhibited widely in Paris, achieving much success. The first Australian woman to become a member of the Société Nationale des Beaux-Arts, she was a founder member of the Salon des Tuileries, and was elected Vice-President of La Société Nationale de Femmes Artistes Modernes in 1930. In 1931 Davidson was made a Chevalier de la Légion d’Honneur for her art and her humanity, again the first Australian woman to be so honoured.
Davidson was also a founding member of the Société Nationale des Independants. In 1938 she exhibited in L’Exposition du Groupe Feminin at the Petit Palais. The year following her work was included in the Exhibition of French Art that toured Pittsburg, St. Louis, New York and Edinburgh. Davidson exhibited with the South Australian Society of Artists, the Royal Society of Artists, Edinburgh and the Royal Glasgow Institute of the Fine Arts. Again like Bunny, Davidson never gave up her Australian citizenship. In 1994 her paintings featured in the exhibition South Australian Women Artists 1890s- 1940s at the Art Gallery of South Australia, Adelaide, her birthplace. Five years later, the Australian Embassy, Paris, honoured her with the solo presentation, Bessie Davidson, une Australienne en France, 1880-1965.
Modiste Garnissant un Chapeau (Milliner Trimming a Hat)
charcoal on paper
44.5 x 55.6 cm
Galerie Georges Petit, 3ème Vente Atelier Edgar Degas, Paris, 5th April 1919, Lot 400 Christie’s, New York, 14th November 1996, Lot 130
Sotheby’s Impressionist and Modern Art Day Sale 24 June 2014. Lot 395
Edgar Degas was a prodigious draughtsman. Modiste garnissant un chapeau exemplifies his talent for capturing the elegance of a gesture and the beauty in a fleeing pose. His drawings, pastels and oils were regularly exhibited together at the Impressionist exhibitions. This work captures the graceful movements of a milliner leaning over her client, trimming a broad-brimmed hat. Degas’ series of images of millinery shops appeared in the 1880s. He would frequently accompany friends to their appointments, entranced by the delicate work of the milliner’s hands as they trimmed hats with colourful feathers and sumptuous materials. This magnificent work may have been a preparatory drawing for the 1891-95 pastel of the same title. The latter was acquired from the artist’s studio sale by Ambroise Vollard, the most important French art dealer of the early twentieth century.
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.
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.
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.
Gulumbu Yunupingu was an Australian Aboriginal artist and women’s leader from the Yolngu people of Arnhem Land, in the Northern Territory of Australia. Born in Gunyungarra, Northern Territory, Yunupingu was a member of the Gumatj clan and spoke the Gumatj language. She was a sister of Aboriginal leader Galarrwuy Yunipingu and Mandawuy Yunipingu, the singer from rock band Yothu Yindi.
Her art has been widely exhibited all around the world, including the newly restored $370 million Quai Branly Museum in Paris. Her work is also exhibited in the National Gallery of Australia and she has won many awards for her work. In 2004 she won the 21st National Aboriginal & Torres Strait Islander Art Award for a piece entitled Garak, The Universe, which consists of three memorial poles, decorated in her own style, which combines traditional Yolngu designs with her own modern interpretation. In 2012, a painting on wood titled Garrurru (Sail), weighing a tonne and measuring seven by three metres, was installed at the Australian National University.