Margaret Olley AC

Total Page:16

File Type:pdf, Size:1020Kb

Margaret Olley AC MA163 M AR g AR e T Olle Y AC (1923–2011) AC In conjunction with: Margaret Olley aC 310 Toorak Road, South Yarra Victoria, 3141 Australia (1923–2011) 03 9826 0822 www.mossgreen.com.au An Artist’S life Sydney, Sunday 30 June 2013 MOSSgreeN aUCtIONS MaNageMeNt teaM Paul Sumner Robert Richards Melinda Melrose Diane de Mascarel Managing Director Shipping & logistics Manager Assistant Auctions Manager Administration Manager SpeCIalIStS Alison Renwick Paul Sumner Ray Tregaskis Bill Evans Australian Art Single Owner Auctions Asian Art early Aboriginal & Oceanic Art 0412 363 431 0412 337 827 0418 885 188 0417 674 559 [email protected] [email protected] [email protected] [email protected] Shaun Dennison Ray Schlager Contemporary Aboriginal Art fine Jewellery & Watches 0410 501 857 0414 621 606 [email protected] [email protected] Mossgreen Headquarters 310 Toorak Road, South Yarra, Victoria 3141 Telephone 03 9826 0822 facsimile 03 9826 1255 Single owner auction specialists Single owner auction specialists [email protected] www.mossgreen.com.au Margaret Olley aC (1923–2011) an artist’s life Sydney, Sunday 30 June 2013 2 3 ContaCtS Specialist Enquiries Australian and European Condition reports and Art and Antiques specialist requests Paul Sumner Melinda Melrose 0412 337 827 Assistant Auctions Manager [email protected] 03 9826 0822 [email protected] Australian Art Condition reports and Alison Renwick specialist requests 0412 363 431 Diane de Mascarel [email protected] Administration Manager 03 9826 0822 [email protected] Administration Enquiries Accounts Accounts Telephone & Amanda Swanson Deanna Baxter Absentee Bids Finance Director Finance Manager Karl Robideau 0414 592 234 03 9826 0822 Front of House Manager [email protected] [email protected] 03 9826 0822 [email protected] Accounts Collections & Shipping James Jin Robert Richards Accounts Administrator Operations Manager 0458 058 534 0419 393 932 [email protected] [email protected] 4 5 INTERNATIONAL BIDDING ViEWing Bidding if you are an international bidder who has not purchased with Mossgreen HOW TO Mossgreen Auctions printed catalogues are available approximately two Mossgreen Auctions offers all clients four options to bid at our auctions: Auctions before, you must make sure your identification, your signed weeks prior to an auction sale date. online catalogues are posted at bidding form and $500AUd deposit has arrived an is confirmed prior www.mossgreen.com.au approximately three weeks prior to the auction 1. AT THE AUCTION to the auction date. This deposit is refundable within 48 hours should you not be successful. if you are successful it will be deducted from your BUY AT date. Catalogues can be subscribed to for $149.95 AUd a year, or you Experience the excitement, theatre and fun of bidding at a live auction. can collect a complimentary copy at the viewing. The viewing days are purchase total and any remaining balance must be paid via direct deposit. To bid in person, make sure you arrive with enough time to register for a typically the three or four days prior to the Auction date from 11.00am– Bank details are provided in the Payment section at the back of this bidding number, and if you haven’t purchased with Mossgreen before then 5.00pm at the location/s printed in the catalogue and on the website. catalogue. MOSSGREEN you will need to bring along some photo identification such as a driver’s licence or passport. LOT DESCRIPTIONS are the basic catalogue information given such as dimensions, date or 2. TELEPHONE BIDDING AUCTIONS age, medium, attribution, provenance, quantity and so on. All lots are The perfect solution for when you can’t attend in person. Mossgreen staff guaranteed for 30 days from the auction date. The website gives a clear bid individually with you over the telephone, relaying each bid and what size guide in relation to the average sized person, as well as signature and PAYMEnT & CoLLECTion We have compiled the following guide is happening in the room itself and will bid on your behalf upon your multi-view details for selected higher priced items. to assist you with the exciting process instructions. YOUR FINAL INVOICE ESTIMATES Please note that telephone bids must be organised with at least 24 hours if you are successful you will receive your invoice emailed to you, and you that is bidding at auction. notice, and that on occasion telephone bids will be limited if the auction are printed for all lots and can take into account rarity, condition, quality will pay the hammer price of your lots, plus the buyer’s premium on each is offsite. You will be advised if this is the case in the catalogue and on the and provenance. The reserve is the undisclosed confidential amount at, lot – 22% plus gST, together with any additional applicable charges such website. or below the low estimate for which the lot is buyable at. The reserve will as gST on hammer, or the Artist Resale Royalty if applicable. never exceed the low estimate at Mossgreen Auctions and many lots are To organise a telephone bid please refer to the telephone bidding page at Payments must be made in full by the final collection day after the auction sold without reserve. the back of this catalogue. The “Cover Bid” section is optional, however date as printed in the catalogue. Personal, company and bank cheques are useful if you are uncontactable at the last minute, or the telephone line not accepted. We accept Eftpos, (up to $1,000AUd or your daily limit), TALK TO OUR SPECIALISTS drops out- you are authorising Mossgreen to bid to that amount on your direct deposit or credit card (2% merchant fee for Visa and Mastercard or behalf. Mossgreen Auctions offers telephone bids on all lots, in all auctions. who are always happy to discuss any lot with you in greater detail. Their 3% for American Express). Please note that credit card transactions will contact details for a particular sale are published in each appropriate not be accepted over the telephone. 3. ABSENTEE BIDS catalogue and on the website. Up to $10,000AUd can accepted in cash, and for any amount over this, it The ideal solution when you can’t attend in person, action a telephone bid, must be deposited directly into a local Westpac Bank branch. Please refer CONDITION REPORTS or simply have a budget you wish to stick to. to the Payment Form at the back of this catalogue for further details. are available upon request. These supplement the catalogue description An absentee bid requires your maximum bid to be recorded for the lot and provide guidance on a lot’s condition. They are advisable to obtain numbers you are interested in bidding on, and should the lot be knocked DELIVERY if you cannot view the item in person and have any queries. Please send down to a lesser amount than recorded under your number, and you Small items can be wrapped by Mossgreen Auctions following payment email request to: [email protected] are the highest bidder on the auctioneer’s book, then the lot will be sold and inspection of your items, and larger items can be packaged into boxes to you for the lesser hammer price. Please note absentee bids must be or bubble-wrapped for your convenience. Please note, should you request SYMBOLS received no later than 24 hours prior to the auction commencement time. Mossgreen Auctions to pack your items for you, we take no responsibility occasionally, a symbol is printed next to a lot number, indicating a special To organise an absentee bid, please refer to the absentee bidding form at for any breakages. Mossgreen is happy to assist with all your transport clause regarding the sale of that lot – you may come across the following the back of this catalogue, and further details are available in the Terms requirements whether it be a local, interstate or international delivery. at our sales: and Conditions of Sale section, also at the back of this catalogue. An email We can provide up to two competitive quotes for international shipping. must be supplied at the time of submitting your absentee bid, along with Please contact Robbie Richards on 0419 393 932 or † gST on HAMMER, meaning this lot has gST added onto not just the [email protected] Buyers Premium, but the hammer price also. a clear copy of your photo identification if you have not purchased with Mossgreen Auctions before. § Artist copyright resale royalty, meaning that this lot is subject to an STORAGE artist’s resale royalty. 4. ONLINE BIDDING All items must be paid for and collected within the collection times Mossgreen Auctions offers an online bidding service via The-Saleroom. advertised for each individual auction. com or LiveAuctioneers.com if items are not collected within this time-frame, Mossgreen Auctions To organise online bidding please go to either www.the-saleroom.com or reserves the right to charge removal and storage fees. www.liveauctioneers.com and complete your registration as instructed. Lots purchased via these live online bidding services are subject to an additional 3% commission charge on the hammer price. 6 7 BURKE ST FORBES ST Margaret Olley BURTON ST FOLEY ST OXFORD ST FORBES ST aC (1923–2011) CROWN ST T S VICTORIA ST Y R A D DARLINGHURST RD N OM ST OU FLINDERS ST C B AR an artist’s life B DARLINGHURST Sunday 30 June 2013 at 2.30Pm Viewing & Auction Location Viewing times Viewing & Auction location Auction National Art School Friday 28 June 11.00am–4.30pm National Art School Sunday, 30 June 2013 Forbes Street Saturday 29 June
Recommended publications
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • Ben Quilty: a Case Study(PDF, 558KB)
    EDUCATION RESOURCE KIT A CASE STUDY BEN QUILTY 1 INTRODUCTION Written by Kate Caddey and published by Lake Macquarie City Art Gallery (LMCAG), this education kit is designed to assist senior secondary Visual Arts teachers and students in the preparation, appreciation and understanding of the case study component of the HSC syllabus. LMCAG is proud to support educators and students in the community with an ongoing series of case studies as they relate to the gallery’s exhibition program. This education kit is available in hard copy directly from the gallery or online at www.artgallery.lakemac.com.au/learn/schools. A CASE STUDY A series of case studies (a minimum of FIVE) should be undertaken with students in the Higher School Certificate (HSC) course. The selection of content for the case study should relate to various aspects of critical and historical investigations, taking into account practice, the conceptual framework and the frames. Emphasis may be given to a particular aspect of content although all should remain in play. Case studies should be 4–10 hours in duration in the HSC course. Cover: Ben Quilty Cook Rorschach 2009 NSW Board of Studies, Visual Arts Stage 6 Syllabus, 2012 oil on linen 140 x 190cm © the artist CONTENTS THE ARTIST 5 PRACTICE 7 Conceptual Practice 7 Explorations of masculinity and mortality 7 Humanitarianism and social issues 14 Australian identity and history 15 Material Practice 16 THE FRAMES 18 Artwork Analysis Using the Frames 18 Structural frame 18 Cultural frame 20 Subjective frame 21 Postmodern frame 23 THE CONCEPTUAL FRAMEWORK 24 Artist 25 Audience 24 Artwork 24 World 24 PREVIOUS HSC EXAMINATION QUESTIONS RELEVANT TO THIS CASE STUDY 26 GLOSSARY 27 REFERENCES AND FURTHER READING 28 Websites 28 Videos 29 Articles and catalogues 30 A CASE STUDY BEN QUILTY 3 A CASE STUDY BEN QUILTY 4 THE ARTIST Ben Quilty in front ‘I am an Artist.
    [Show full text]
  • Adam CULLEN Born Sydney 1965, Died 2012
    Adam CULLEN Born Sydney 1965, died 2012 Adam Cullen was an Australian artist, most known for winning the Archibald Prize in 2000 with a portrait of actor David Wenham. He was also known for his controversial subjects or work. His style has at times been called by some critics as simplistic, crude, adolescent or puerile, though he is regarded one of Australia's most collectible contemporary artists. Cullen's studio was located at Wentworth Falls, in the Blue Mountains of New South Wales. He had stated that he had painted to the music of punk bands such as the Meat Puppets, Black Flag and the Butthole Surfers. Cullen painted such things as dead cats, 'bloodied' kangaroos, headless women and punk men, many of which represent what he termed "Loserville". The artist used a highly personal visual language to address a broad range of topics including crime, masculinity and cowboy culture. He merged high and low cultural influences in works which are defined by their iridescent colours and bold gestural marks. His works combine irreverent humour with an astute sensitivity to society. Cullen’s work is held in collections including the National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne; Art Gallery of Western Australia, Perth; Monash University, Melbourne; and Griffith University, Brisbane. I HEART PAINT curated by Iain Dawson gallery.begavalley.nsw.gov.au Adam CULLEN Mare from Kildare 2004 acrylic on canvas 102 x 76cm Private Collection Adam CULLEN Auto Portrait 2005 acrylic on canvas 52 x 41cm Private Collection Adam CULLEN My Crackerjack 2004 acrylic on canvas 182 x 182cm Private Collection Adam CULLEN When she goes, I dress up 2003 acrylic on canvas 182 x 152cm Private Collection I HEART PAINT curated by Iain Dawson gallery.begavalley.nsw.gov.au Alesandro LJUBICIC Born 1986, Jajce, Bosnia and Herzegovina Lives and works Sydney, New South Wales Ljubicic studied at the National Art School in Sydney where he was involved in a number of exhibitions and Art awards between 2004 - 07.
    [Show full text]
  • Janet Hawley 2012 Design Copyright © the Slattery Media Group Pty Ltd 2012 First Published by the Slattery Media Group Pty Ltd 2012 All Rights Reserved
    JANET H AWL EY ARTISTS IN CONVERSATION The Slattery Media Group Pty Ltd 1 Albert St, Richmond JANET Victoria, Australia, 3121 Text copyright © Janet Hawley 2012 Design copyright © The Slattery Media Group Pty Ltd 2012 First published by The Slattery Media Group Pty Ltd 2012 All rights reserved. No part of this publication may be reproduced, stored in a retrieval H AWLEY system or transmitted in any form or by any means without the prior written permission of the copyright owner. Inquiries should be made to the publisher. ARTISTS IN Portions of the work have been previously published in The Age and The Sydney Morning Herald’s Good Weekend and Sydney magazines, as well as Encounters with Australian Artists by Janet Hawley CONVERSATION (published by University of Queensland Press, 1993) Extracts from Donald Friend’s diaries: © Trustees of the Estate of Late Donald Friend (reproduced with permission from the Estate of the Late Donald Friend) All images and artworks used with permission. See images for credit information. Image on dust jacket of Janet Hawley © Graham Jepson National Library of Australia Cataloguing-in-Publication entry Author: Hawley, Janet, 1944 Title: Artists in conversation / Janet Hawley. ISBN: 9781921778735 (hbk.) Subjects: Artists–Australia–Anecdotes. Art, Modern. Dewey Number: 709.94 Group Publisher: Geoff Slattery Editor: Nancy Ianni Image research: Gemma Jungwirth Cover and page design: Kate Slattery Creative Director: Guy Shield Printed and bound in Australia by Griffin slatterymedia.com visit slatterymedia.com For Kimberley, ben, Sam and PhiliP JANET HAWLEY ARTISTS IN CONVERSATION ContentS Introduction ��������������������������������������������������������������� 9 1. Françoise Gilot ............................ 15 17. John Wolseley ..............................
    [Show full text]
  • Margaret Olley: a Life in Paint
    Margaret Olley: A Life in Paint © ATOM 2012 A STUDY GUIDE BY MArguerite O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-188-1 http://www.theeducationshop.com.au Yellow Room Great art picks up where nature ends. – Marc Chagall introduction Margaret Olley: A Life in Paint is an intimate one-hour documentary about one of Australia’s best loved painters. A well-known figure from the time she was painted by William Dobell in 1948, Olley’s celebrity status tended to overshadow her life as a painter. This documentary puts Margaret OIley the painter on centre stage. Many believe her last works – those painted in the eighteen months leading up to her death on 26 July 2011 – were amongst her finest. SCREEN EDUCATION © ATOM 2012 © ATOM SCREEN EDUCATION 2 Synopsis: Margaret Olley, an Australian painter, died in July 2011 aged 88 as she was putting the finishing touches to what would be her final exhibition. She was a remarkable artist and a generous supporter of other artists. This documentary gives viewers an insight into the life and work of this greatly admired Australian painter through the recollections of those who knew her and were familiar with her work. We see Margaret Olley painting and talking about her Place Clockwise from top left: Kilim Rug and Pomegranates; work and learn about her early life Emeritus Curator Olley kitchen; Olley painting and the artists who influenced her Barry Pearce calls the Sydney house in which distinctive style. Much of the film, Margaret lived ‘the including interviews with her friends inner sanctum’ and paintings; we see her working on some of these and with Olley herself, is shot inside it is the house that works in the latter years of her life.
    [Show full text]
  • 228 Paddington: a History
    228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks.
    [Show full text]
  • ELISABETH CUMMINGS Interior Landscapes Curated by Sioux Garside
    ELISABETH CUMMINGS interior landscapes Curated by Sioux Garside 26 May – 23 July 2017 Born in 1934, in Brisbane Elisabeth Cummings was raised in a home filled with paintings and sculpture. Her parents regularly held an ‘open house’ for on Sunday evenings for American soldiers headquartered in Brisbane and also welcomed many Australian artists including David Strachan, Donald Friend, Margaret Olley & Roy Dalgarno. Her father, an architect and academic, was also a trustee at the Queensland Art Gallery. As a child she and her brother would attend Vida Lahey’s art classes held on Fridays. The family holidayed at Currumbin on the Gold Coast and in her final year of high school after tuition from Margaret Cilento she became determined to study art and, with her encouragement, decided to attend the National Art School in Sydney. She moved to Sydney and studied under Dorothy Thornhill, Godfrey Miller, Jimmy Cook and Ralph Balson between 1953-57. In 1958 she was awarded the New South Wales Travelling Art Scholarship which enabled her to travel to Europe where she lived in Italy, France and England where she was inspired by the work of Cézanne, Matisse and Vuillard. She also travelled to Salzburg and studied under Oskar Kokoschka at his School of Vision. After a decade of living in Europe, Elisabeth Cummings returned to Australia and settled in Sydney. She had missed the Australian bush and land and this now provided the stimulation for her work. She commenced teaching at the National Art School in 1969, instructing countless students there during her thirty year tenure as a lecturer and exhibiting regularly in Brisbane and Sydney.
    [Show full text]
  • Margaret Olley: a Life in Paint
    Margaret Olley: A Life in Paint © ATOM 2012 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-188-1 http://www.theeducationshop.com.au Yellow Room Great art picks up where nature ends. – Marc Chagall introduction Margaret Olley: A Life in Paint is an intimate one-hour documentary about one of Australia’s best-loved painters. A well-known figure from the time she was painted by William Dobell in 1948, Olley’s celebrity status tended to overshadow her life as a painter. This documentary puts Margaret OIley the painter on centre stage. Many believe her last works – those painted in the eighteen months leading up to her death on 26 July 2011 – were amongst her finest. SCREEN EDUCATION © ATOM 2012 © ATOM SCREEN EDUCATION 2 Synopsis: Margaret Olley, an Australian painter, died in July 2011 – aged 88 – as she was putting the finishing touches to what would be her final exhibition. She was a remarkable artist and a generous supporter of other artists. This documentary gives viewers an insight into the life and work of this greatly admired Australian painter through the recollections of those who knew her and were familiar with her work. We see Margaret Olley painting and talking about her work Place Clockwise from top left: Kilim Rug and Pomegranates; and learn about her early life and the Emeritus Curator Olley kitchen; Olley living room artists who influenced her distinctive Barry Pearce calls the Sydney house in which style. Much of the film – including Margaret lived ‘the interviews with her friends and with inner sanctum’ and paintings; we see her working on some of these Olley herself – is shot inside the it is the house that works in the latter years of her life.
    [Show full text]
  • Secondary Student Worksheet
    SECONDARY STUDENT WORKSHEET About the artist — 1923 Born in Lismore, New South Wales 1937 Boards at Somerville 1953 1980 1997 House, South Brisbane Returns to Brisbane and Farndon burns down Declared Australian lives at family home National Living Treasure 1941 Farndon in Hill End 1981–88 Leaves Somerville House (West End); receives local Travels to Thailand, India, 1998 and enrols at Brisbane mural commissions the Maldives, Sri Lanka, Travels to England Central Technical College United States of America, and Switzerland 1954 Zimbabwe, Greece, Crete, 1943 Travels to north Egypt, China, Russia, 2006 Leaves Brisbane and Queensland, and then on England, Italy, Appointed Companion of 1 enrols at East Sydney to Papua New Guinea France and Belgium the Order of Australia Technical College 1959 1990 1947 Opens antique shop Establishes Margaret Graduates from East in Buranda, Brisbane Olley Art Trust and Sydney Technical College starts buying artworks for public collections 1965 1948 Purchases house in 2011 First solo exhibitions in Paddington, Sydney, and 1991 Ben Quilty’s portrait of Sydney and Brisbane begins renovating Appointed Officer of the Olley wins the Archibald Order of Australia; travels Prize; Olley passes away in to Korea and Japan 1967 Sydney, New South Wales Travels three more times to Papua New Guinea 1992–96 Travels to United States of America, Germany, Czech 1969–79 Republic, England, the 1949 Travels extensively, Netherlands and France William Dobell’s portrait of visiting Malaysia, Thailand, Olley wins the Archibald Cambodia,
    [Show full text]
  • The Artist's City
    FITZROY STREET FERN STREET YOUNG STREET COWPER STREET COAL ST WILSON STREET DENISON STREET MAITLAND ROAD HUDSON STREET E ALBERT STREET US HO T DONALD STREET H IG L & GREENWAY STREET 1 Margaret Olley, 7 Climbing sun over the Hunter, 10 Black Totem II S Y Moderate B B views from Obelisk Park Newcastle City Hall O WALKING Trail 2hrs 30mins / 5.1km N 11 Newcastle Art Gallery O CLEARY STREET Monday to Friday 8.30am – 5pm Monday to Friday 9.30am – 8pm, T CHURCH STREET 2 The Lock-Up Cultural Centre Wednesday to Saturday 10am – 4pm, Saturday 9.30am – 2pm Sunday 11am – 3pm 8 James Cook Memorial Fountain LINDSAY STREET THROSBY STREET 9 Figure Group, Newcastle Region 3 Evolution 1 RAILWAY STREET Library SAMDON STREET LINDUS STREET 4 The Adaptable Migrant Monday to Friday 9.30am–8pm, THE BREAKWALL JAMES STREET CAMERON STREET Saturday 9.30am–2pm 5 Foundation Seed TUDOR STREET BISHOPGATE STREET 6 William Dobell’s Birth Place, WHARF ROAD DIXON STREET ARTIST’SELCHO STREET CITY 84 Bull Street Newcastle/Stockton BRIDGE STREET Ferry MILTON STREET WILLIAM STREET EXPLORE NEWCASTLE’S ART AND MURRAY STREET DENISON STREET HONEYSUCKLE DRIVE WORKSHOP PARRY STREET WAY STEEL STREET ARTISTS THROUGH A SELF-GUIDED CENTENARY RD WHARF ROAD ARGYLE ST 3 NOBBYS ROAD WALKING TOUR OF THE CITY. 4 SCOTT STREET FORT DR MEREWETHER ST SHEPERDS PL WOOD ST BOND ST STEVENSON PLACE VEDA STREET HUNTER STREET HUNTER STREET 2 ALFRED ST 5 HUNTER STREET BEACH ST SKELTON ST AUCKLAND STREET SHORTLAND ESP CHAUCER STREET KING STREET 7 KING STREET KING STREET STEEL ST EVERTON STREET WARRAH
    [Show full text]
  • Secondary Teacher Notes
    SECONDARY TEACHER NOTES About the artist 1 — Margaret Olley was born in 1923 in Lismore, New South In 1964 Olley bought a terrace house and adjoining former Wales. Her family moved to Tully in north Queensland hat factory in Paddington, Sydney, which she renovated and then to Murwillumbah in northern New South Wales to use as her studio, dividing her time between Brisbane before she was sent to board at Somerville House in South and Sydney. This house, with its richly coloured walls and Brisbane in 1937. thousands of objects, many of which were the subjects of her paintings, became almost as famous as the artist herself. She studied briefly at the Brisbane Technical College in 1941 before completing her training in 1945 at the East In the 1970s and 1980s, Olley travelled to the United States, Sydney Technical College, and her first solo exhibitions Crete, Egypt, China, Russia, Italy, France and England, often were held in 1948 in Sydney and Brisbane. Olley’s growing to see an exhibition by an artist she admired. In 1980 Farndon popularity made her an attractive subject for artists, and was destroyed tragically by fire, along with many of Olley’s in 1948 William Dobell’s portrait of her caused a sensation early works, photographs and objects from her travels, when it won the Archibald Prize. In 1949 she travelled to causing Olley to base herself more permanently in Sydney. England, and while in Europe she studied at the Académie de la Grande Chaumière, Paris, and also travelled to Italy, Olley established the Margaret Olley Art Trust in 1990 Spain and Portugal.
    [Show full text]