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A Connoisseur's Collection Paintings, Watercolours and Tapestries by Major Australian Artists

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A Connoisseur's Collection Paintings, Watercolours and Tapestries by Major Australian Artists A Connoisseur's Collection Paintings, watercolours and tapestries by major Australian artists 156 Hargrave Street, Paddington NSW 2021 Australia Telephone 02 9327 8311 website: www.savill.com.au email: [email protected] INDEX 01. Blackman, Charles - Chasing the Butterfly 1969 02. Blackman, Charles - Blue Blossom circa 1970 03. Blackman, Charles - Alice's Hand, Cup, Table and Flowers 1957 04. Blackman, Charles - The Reading Room 1979 06. Blackman, Charles - The Garden of the White Cat 1970 05. Coburn, John -Tree of Life circa 1974 19. Coburn, John - Late Afternoon Dreaming 1986 20. Coburn, John - Study for Monoliths 2002 21. Coburn, John - Flight of the Birds 1976 13. Crooke, Ray -Island Scene circa 1970 14. Crooke, Ray - Outskirts of Town circa 1966 15. Crooke, Ray - Afternoon Walk 1999 16. Crooke, Ray - Island Woman with Frangipani 17. Crooke, Ray -Islanders by the Sea 18. Crooke, Ray -Island Still Life 08. Pugh, Clifton - Trees with Apostle Birds 1959 09. Pugh, Clifton - Spring: Wrens 1976 10. Pugh, Clifton - Spring: Place of Little Birds 1976 11. Shead, Garry - Queen and Royal Procession Royal Suite 1997 12. Shead, Garry - Bacchanalian Marriage at Pokolbin 2012 24. Sherman, Albert - Australian Native Flowers circa 1930 07. Storrier, Tim - Starlight on the Plains (Night Coals) 2008 22. Whiteley, Brett - Towards Sculpture 8 1977 23. Whiteley, Brett - Lipstick 1981 See our website for additional works in this exhibition: www.savill.com.au Front cover: 01. Blackman, Charles (b.1928) Chasing the Butterfly 1969 oil on board, 37 x 47 cm signed lower right Provenance: Barry Stern Gallery, Sydney; Private Collection, Sydney Back cover: 24. Sherman, Albert (1882-1971) Australian Native Flowers circa 1930 oil on board, 58 x 63 cm signed lower right and inscribed verso Provenance: Bill and Eileen Cammack Collection, Sydney. Literature: Cammack, William F. J., Albert John Sherman: Cornish Australian Artist, Mini-Publishing, p.85 illustrated. A Connoisseur's Collection Paintings, watercolours and tapestries by major Australian artists 15 November - 10 December 2014 SAVILL GALLERIES, SYDNEY 156 Hargrave Street, Paddington NSW 2021 T: 02 9327 8311 E: [email protected] For further details and the entire exhibition, see our website: www.savill.com.au EXHIBITION HOURS Tuesday to Friday: 10.00am – 6.00pm Saturday: 11.00am – 5.00pm Sunday closed Monday closed {1} CHARLES BLACKMAN (b. 1928) Chasing the Butterfly 1969 oil on board, 37 x 47 cm signed lower right Provenance: Barry Stern Gallery, Sydney; Private Collection, Sydney. 'When he paints the games of children, he only occasionally shows us the rough and tumble of childhood. His images speak of the watching and growing perceptions, the emotions and dreams of childhood. ' Ref: Nadine Amadio, Charles Blackman, The Lost Domains, AH & AW Reed Pty Ltd, Sydney, 1980, p. 70. {2} CHARLES BLACKMAN (b. 1928) Blue Blossom circa 1970 oil on board, 48 x 74 cm signed upper right 'Charles Blackman's girls are so often watching, waiting, listening, hearing inner songs. ... Some mysterious cycle of reaction is happening. It is another way of listening.' Ref: Nadine Amadio, Charles Blackman, The Lost Domains, AH & AW Reed Pty Ltd, Sydney, 1980, p. 39. {3} CHARLES BLACKMAN (b. 1928) Alice's Hand ,Cup, Table and Flowers 1957 crayon, pen and ink on paper 37 x 60 cm signed and dated lower right Provenance: Tolarno Galleries, Melbourne. Exhibited: Charles Blackman: Works on Paper 1948-1957, Tolarno Galleries, Melbourne, 8 - 29 September 1987, cat. no. 167 (as 'Hand Cup Table'). {4} CHARLES BLACKMAN (b. 1928) The Reading Room 1979 charcoal and acrylic on canvas, 150 x 182 cm signed lower right Provenance: Rudy Komon Art Gallery, Paddington, Sydney, stock no. 5190, label verso. Literature: Nadine Amadio, Charles Blackman, The Lost Domains, AH & AW Reed Pty Ltd, Sydney, 1980, colour illustration plate 3.22; Thomas Shapcott, The Art of Charles Blackman, Andre Deutsch, London, 1989, colour illustration plate 158. Exhibited: A Salute to Charles Blackman, Savill Galleries, Sydney, 12 August - 5 September 1998, cat. no. 8, illustrated. 'For Charles Blackman, girls and flowers are an eloquent form for his personal poetry... Many of the girls and flower images were reflections of his wife. Barbara Blackman's increasing sight loss was a tragedy in both their lives and yet, both being creative people, it refined their sensibilities in other directions. This was a journey that they shared over many years and one that extended into certain areas of his painting... 'The Reading Room' is a direct likeness of her. In the shade is the reader, her gaze on a book of bright words. In the lit figure, the artist has captured that concentrated, receptive state of both the blind and the listener. This lucent state of open-minded receptivity is heightened by her sunlit face and the shimmering haze around the flowers that are almost part of her body.' Ref: Nadine Amadio, Charles Blackman, The Lost Domains, AH & AW Reed Pty Ltd, Sydney, 1980, colour illustration plate 3.22 p. 44. {5} JOHN COBURN (1925-2006) Tree of Life circa 1974 wool tapestry, edition 2/3 183 x 219 cm woven signature lower left, monogram lower right PF (Pinton Frères workshop, d'Aubusson, France) label attached verso, woven edition number 2/3 Provenance: Judy and Peter Wolfe, Sydney. John Coburn's interest in tapestry stemmed from seeing a 1953 French exhibition that included one tapestry and then later in 1956 he saw an entire exhibition of tapestries. However it was not until 1966 when an exhibition of d'Aubusson tapestries was brought to Australia by the French firm, Pinton Frères who were looking for Australian artists to design for them and asked Coburn to do some designs. The Tree of Life tapestry was woven by the famous weaving centre at Aubusson, which had been operating since the 8th century. 'A French artist, Jean Lucart, revived the tapestry industry at Aubusson in the 1930s by designing for the weavers and encouraging his friends, Picasso, Matisse, and other great French moderns, to do the same. 'Tapestry is the ideal decoration for modern architecture,' John Coburn says, 'with the vast areas of glass, marble, and general starkness, it needs the warmth and richness of tapestry'.'1 From 1969 -72 Coburn went to live in Paris and travelled to Aubusson to oversee the tapestries, which included the Sydney Opera House Curtains. 1 John Coburn quoted in 'The Australian Women's Weekly, 2 August 1972, pp. 4 -6. {6} CHARLES BLACKMAN (b.1928) The Garden of the White Cat 1970 wool and cotton tapestry, edition 6 / 6 238 x 400 cm woven signature lower right, monogram lower right: MTP fino (Manufactura de Tapecarias de Portalegre) label attached verso: 1565 - 6 / 6 Provenance: Collection of the artist, Sydney; Savill Galleries, Sydney; Dr Jan Altmann, Melbourne; The Estate of the Late Dr Jan Altmann, Melbourne. Exhibited: Tapestries and Paintings by Charles Blackman, South Yarra Gallery, Melbourne, November 1971, (tapestry), no. 1 (another weaving); Tapestries and Paintings by Charles Blackman, Clune Galleries, Sydney, March 1972, (tapestry), no. 1 (another weaving) 120 Years of Australian Painting, Savill Galleries, Sydney, 6-30 September 2000, no. 27, illustrated. Literature: Sandra McGrath, A Botanist's Delight in Tapestry, The Australian, Sydney, 25 March 1972, p. 15; Nadine Amadio, Charles Blackman: The Lost Domains, A.H. & A.W. Reed, Sydney, 1980, dust jacket colour illustration, p. 86, plate 6.18 (another weaving); Thomas Shapcott, The Art of Charles Blackman, Andre Deutsch, London, 1989, colour plate 127, (another weaving); Felicity St John Moore, Charles Blackman: Schoolgirls and Angels, National Gallery of Victoria, Melbourne, 1993, pp. 24, 105. See also: The huge diptych oil titled 'White Cat's Garden at Night' (oil on canvas, 175 x 275 cm) was sold by Savill Galleries in 2012 for close to $400,000 (see illustration in Nadine Amadio, Charles Blackman: The Lost Domains, A.H. & A.W. Reed, Sydney, 1980, p. 85, plate 6.5). Blackman reflected, 'During the late summer of 1965 I was on a motor tour of northern France and Flanders and happened to see at the Hotel de Ville in Beauvais an exhibition of Flemish tapestries…. I decided to spend a year in Europe in 1970 to see more tapestries and to design cartoons myself and supervise their weaving…' Four tapestries (an edition of six for each design) were woven from Blackman's designs by the workshop of Tapecarias de Portugal from pure Australian merino wool. Ref: Nadine Amadio, The Lost Domains, Reed, Sydney, 1980, p. 82 - 86, illustrated p. 96, cat. 6.18. {7} TIM STORRIER (b. 1949) Starlight on the Plains (Night Coals) 2008 synthetic polymer paint on linen, 153 x 305 cm 'Storrier has said that he follows an idea or theme, signed lower right and signed, dated and inscribed verso sometimes over several decades, because it intrigues him. ... Therefore, after Storrier's powerful epiphany of Provenance: Philip Bacon Galleries, Brisbane, label the 1980s which saw the introduction of his 'Firelines', verso. or 'Blazelines', these have become a constantly Literature: Edmund Capon, Ken McGregor, William revisited theme resulting in sublime and monumental Wright, Jenny Zimmer, Tim Storrier - Moments, paintings like 'Starlight on the Plains (Night Coals)...' Macmillian Art Publishing, Melbourne, 2009, p. 12, Ref: Jenny Zimmer, Tim Storrier - Moments, double page colour illustration pp 14-15. Macmillian Art Publishing, Melbourne, 2009, p 13. Starlight on the Plains (Night Coals) 2008 illustrated in Tim Storrier Moments, pp. 14-15. {8} CLIFTON PUGH (1924-1990) Apostle Birds and Swamp Gums 1959 oil on board, 68.5 x 91 cm signed and dated lower right Provenance: Warren and Bunty Bonython, Adelaide. Literature: Noel Macainsh, Clifton Pugh, Georgian House, Melbourne, 1962, p. 15. Related work: 'Meeting of the Apostle Birds' 1958, Noel Macainsh, Clifton Pugh, Georgian House, Melbourne, 1962, plate 25.
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