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Galeria Aniela

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Founded in 1994, Galeria Aniela won the trust of most important Australian artists from the post WWII until today. Specializing in selling museum-quality ART of impeccable provenance, Galeria Aniela built repute in Australia and the World. Highly appreciate Cameron O’Reilly, Sir David Attenborough, Bob Hawke, the former Australian Prime Minister and art-buyers for their support. Our BOYD family exhibition coup the front page Sydney Morning Herald, Australian National NEWS, ABC TV and Sunday Afternoon, ABC TV. John Perceval Retrospective won Australian National NEWS, ABC TV and Charles Blackman Retrospective the SBS ART-Scream.

Relocated to Bowral, Galeria Aniela continues to represent significant contemporary Australian artists and their work. When you purchase ART from Galeria Aniela, we immediately pay the artist, helping artists make living with their creations including Jamie Boyd, Lenore Boyd, John Olsen, Arthur Boyd, Stephen Glassborow, John Perceval, Bogdan Fialkowski, Charles Blackman, Ningura Napurrula and many more.

If you love price-worthy Art of impeccable provenance, the art you want is at Galeria Aniela

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Arthur Boyd 1920-1999

Arthur Merric Bloomfield BOYD known as Arthur Boyd, is one of the most important Australian artists from the post-WWII up until today. AWARDS 1956 Antipodean Manifesto, 1971 Britannica Award, 1979 OBE UK, 1979 Order of Australia, 1995 Australian of the Year.

Google inspired by Arthur BOYD Shoalhaven at Sunset painting, reworked its logo (2010) Arthur Boyd 90th Birthday -  Google Logo Boyd-inspired "Shoalhaven at Sunset" , 24 July 2010 The Age.

Arthur Boyd work is highly desired by investors and collectors, Boyd's Drowned Bridegroom sold for $1,952,000, Bride Running Away $1,680,000, Sleeping Bride sold for $1,586,000 and Shoalhaven River (size 30 x 29 cm) sold for $70,760.

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Artist: ARTHUR BOYD 1920-1999
Shoalhaven River Escarpment 1980 ENLARGE
Medium: Oil on Board
Size:
31 cm x 21 cm
Framed:
 65 cm x 56 cm

Price: $35,000  Enquire

Related Works

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ARTHUR BOYD (1920-1999) Shoalhaven at Sunset c1976-78 oil on copper, 60.5 x 43.0 cm signed lower right: Arthur Boyd
Artist: ARTHUR BOYD 1920-1999
Shoalhaven at Sunset
 c.1970
  Enlarge
Medium: Oil on Copper

Size
: 60 cm x 45 cm
Framed:
95 cm x 80 cm

Price: $105,000  Enquire

Related Works

Gogle inspired by Shoalhaven at Sunset c.1970 reworked its logo (2010) The Age  Arthur Boyd 90th Birthday -  Google Logo Boyd-inspired "Shoalhaven at Sunset" , 24 July 2010

Price subject toy change without a prior notice


Artist: ARTHUR BOYD 1920-1999
Bride with
the Necklace 1970  Enlarge
Medium: Oil on Board
Size
: 30 cm x 20 cm
Framed: 65 cm x 56 cm

Related Works

Price: $85,000 Enquire

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Artist: ARTHUR BOYD 1920-1999
Bride and the Serpent
Enlarge
VIDEO
Medium: Oil on Canvas
Size
: 122 x 94 cm
Framed: 150 x 122 cm

Related Work

Price: $485,000  Enquire

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Price subject to change without notice

The Art of Giving Quality Service

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Click to Enlarge: Arthur Boyd (1920-1999), Shoalhaven River Escarpment c.1970-75, Oil on Board, 36 cm x 30 cm
Artist: Arthur BOYD 1920-1999
Shoalhaven Escarpment 1970
Medium: Oil on Board
Size
:
36 x 31 cm
Framed:
64 cm x 57 cm
Price: SOLD

SOLD - Arthur Boyd, Shoalhaven Waterfall Bather and The Elder, Oil on canvas
Artist: ARTHUR BOYD 1920-1999
Title: Waterfall, Bather, The Elder
Medium: Oil on canvas
Size:
60 x 45 cm

Price: SOLD


Artist: ARTHUR BOYD 1920-1999
Campfire, Green Serpent, Bride

Medium: Oil on canvas
Size: 100 x 82 cm
Price:
SOLD 
SOLD - Arthur Boyd, Shoalhaven at Sunset II, oil on copper, 30.5 x  22.5 cm
Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven at Dusk
Medium: Oil on Copper
Size:
30 cm x 22 cm
Price: SOLD

Artist: ARTHUR BOYD 1920-1999
Title: Black
Swan, 3 Cockatoos

Medium: Oil on Board
Size: 38.5 cm x 32 cm
Price:
SOLD

Artist: ARTHUR BOYD 1920-1999
Shoalhaven, Swan, 2 Cockatoos  
Medium: Oil on Board
Size: 38 cm x 32 cm
Price: SOLD
 

Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven Black Swan

Medium: Oil on Board
Size: 38.5 cm x 32 cm
Price:
SOLD

Artist: ARTHUR BOYD 1920-1999
Shoalhaven, 3 Cockatoos
Medium:
Oil on Board
Size: 38 cm x 32 cm
Price: SOLD
 
Click to Enlarge: Arthur Boyd, Shoalhaven Riverbank c.1970, Oil on Copper, 62 cm x  45 cm
Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven Escarpment 1970
Medium: Oil on Copper
Size: 60 cm x 45 cm
Price:
SOLD

Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven Cockatoos
Medium: Oil on Copper

Size: 3
6 cm x 30 cm
Price:
SOLD
 
SOLD - Arthur Boyd, Pulpit Rock (Shoalhaven) Oil on canvas, 82 x 82 cm
Artist: ARTHUR BOYD 1920-1999
Title: Pulpit Rock
Medium: Oil on canvas
Size: 90 cm x 90 cm
Price: SOLD
SOLD - Arthur Boyd, Shoalhaven River Bundanon, Oil on canvas, 30.5 x 21.5
Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven River, Bundanon
Medium: Oil on canvas
Size: 30 cm x 20 cm
Price:
SOLD
 
Arthur Boyd, Nebuchadnezzar Windmill, Oil on Board, Image Size: 21 x 25 cm
Artist: ARTHUR BOYD 1920-1999
Nebuchadnezzar Title: Windmill
Medium: Oil on Board
Image: 19 cm x 24 cm
Price: SOLD

Artist: ARTHUR BOYD 1920-1999
Title: Nebuchadnezzar on Fire
Medium: Oil on Canvas
Image: 19 cm x 24 cm
Price: SOLD
 

Artist: ARTHUR BOYD 1920-1999
Title: Red Rock, Magic Flute1990
Medium: Oil on canvas
Image: 147 cm x 154 cm
Price:
SOLD

Artist: ARTHUR BOYD 1920-1999
Title: Allegory Myth, Magic Flute
Medium: Oil on canvas
Image: 183 cm x 175 cm
Price:
SOLD
 
SOLD -  Arthur Boyd, The Green Queen of the Night - Magic Flute, Oil on canvas, 200 x 250 cm
Artist:
ARTHUR BOYD
Queen of the Night Magic Flute
 Medium: Oil on canvas
Image: 200 cm x 250 cm
Price: SOLD
SOLD - Arthur Boyd, Three Ladies Magic Flute, Oil on canvas, 200 x 250 cm
Artist:
ARTHUR BOYD
Title: Three Ladies Magic Flute
Medium: Oil on canvas
Image: 200 cm x 250 cm
Price: SOLD
 

Artist: ARTHUR BOYD
Black Pool the
Magic Flute
Medium: Oil on canvas
Image: 200 cm x 250 cm
Price: SOLD

Artist: ARTHUR BOYD 1920-1999
Title: Nude being Unveiled by Dog
Medium: Collage on Paper
Image
: 55 cm x 65 cm
Price: SOLD
 
 

Galeria Aniela sells Arthur Boyd museum-quality original works of art

A long history with the BOYD family signed by Arthur BOYD for Galeria Aniela

 Arthur BOYD authorized Galeria Aniela selling his original work

 

In the 40's Arthur BOYD formed  the nucleus of the Angry Penguins group with members John Perceval, Charles Blackman, Sidney Nolan, Danila Vassilieff, Albert Tucker, Joy Hester and Arthur Boyd  they were creating important paintings of the WWII expressionism. Among BOYD's best-known pictorial creations, is the 1940's image of the AntipodeanLovers dreaming of a Summer Night”.

Lovers dreaming of a Summer Night is one of Boyd’s expressionist surreal artworks of the war period in the 1940s when Australian artists were torn amidst the reality of life, hope and dreams and the struggle for survival. Members of the Angry Penguins group included  John Perceval, Charles Blackman, Arthur Boyd, Sidney Nolan, Danila Vassilieff, Albert Tucker and Joy Hester.

The Melbourne art scene was pulled away from the safe bush scenes began making social comments through expressive art. Urban hardships were the realities of the day, and the war brought home surreal experiences. Boyd was conscripted in 1941 and served with the Cartographic Unit until 1944, and Boyd believed that war and violence are unjustifiable.

Arthur Boyd expressionistic paintings include images of ‘Lovers dreaming of a Summer Night’ along with painful images of cripples, the dispossessed and the outcast. Arthur Boyd's original, deeply expressive, surreal work is a lasting testament to Boyd uniquely humanist vision.

Following the war, Arthur Boyd together with John Perceval founded a workshop at Murrumbeena and turned his hand to pottery, ceramic painting and sculpture. Boyd was keen to stand apart from the modernist Heide Circle supported by wealthy patronage of John and Sunday Reed.

Lovers dreaming of a Summer Night

Artist: Arthur BOYD

Title: Lovers dreaming of a Summer Night  1940's from the period of the Angry Penguins

Price:   Enquire

Related Works Lovers dreaming:

Lovers Dreaming, Art Gallery of NSW

Persecuted Lovers, National Gallery of Australia

Brides and Lovers, Heide Museum of Modern Art

For the artist, the form encapsulated the Australian character as it fought to tame a wild and hostile continent. In his paintings from the mid-1940s, such as this remarkable composition, there begins to develop a curious disjunction between the existential angst of these Antipodean masks. Arthur BOYD forceful and energetic compositions continue to play a vital role in our understanding and appreciation of Australian Modernism represents an opportunity to acquire a influential work from one of Australia's most important twentieth-century artists.

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Bride and groom by a Creek 1960, 106.6 x 137 cm
National Gallery of Victoria
Bridegroom drinking from creek II 1959, 60.4 x 80.5 cm
State Art Collection - Art Gallery of Western Australia

In 1958 Australian galleries Sydney exhibited BOYD "Brides" for the 1st time, and in 2015 Heide Museum of Modern Art show Arthur BOYD "Brides" again.

         

Left: Reflected bride I  National Gallery of Australia      Right: Bride Drinking from a Creek 1960 Tate London collection

Tate acquires first Arthur BOYD | The Telegraph London 15/06/2010

Tate Britain lifts the veil on BOYD bride | The Australian

Heide Museum of Modern Art exhibited Boyd's Bride series of paintings (2015).

      

Left: Persecuted Lovers 1958 National Gallery of Australia     Right: Dreaming Bridegroom II National Gallery of Australia

Arthur BOYD Brides paintings reunited at Melbourne's Heide Museum

Sydney Morning Herald 30/01/2015 Sasha Grishin

      

Left: Bridegroom Drinking from a Creek 1958 New Walk Museum UK  Right: Bridegroom Drinking from a Creek PAC collection

Heide launches biggest exhibition of Arthur Boyd's Bride paintings ever seen

ABC Radio National 3/12/2014

     

Since 1860 the BOYD family family produced painters, sculptors, architects, musicians, and writers including Emma Minnie à Beckett, Arthur Merric BOYD Senior, Theodore Penleigh, Martin à Beckett, William Merric, Guy BOYD, Arthur Merric Bloomfield BOYD known as Arthur BOYD, Jamie BOYD, David BOYD. Marriage of John Perceval and Arthur's sister, Mary produced Tessa Perceval and Celia Perceval.
LEFT Drowned Bridegroom (1959) Oil and tempera on composition board, signed 'Arthur Boyd'

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

Jamie BOYD (B.1948) the BOYD family most important living artist


ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

PHOTO Aniela with the BOYD family and friends.       PHOTO: (1997) ARTHUR BOYD and Aniela.
 

Arthur Boyd enjoyed to regularly visit Galeria Aniela, he admired Aniela's pioneering spirit and courage built a fine art gallery outside the metropolitan area.

 


ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art
 

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art
Since 1860 The BOYD family family produced many painters, sculptors, architects, musicians, and writers, starting with Emma Minnie à Beckett and Arthur Merric BOYD, Theodore Penleigh, Martin à Beckett, William Merric, Helen à Beckett Read, William Merric, Lucy Gough, Guy BOYD, Arthur BOYD, David BOYD, Mary Elizabeth (married John Perceval children Matthew, Tessa Perceval, Celia Perceval & Alice are artists). Lady Nolan Mary married Sidney Nolan now a trustee of the Sidney Nolan Trust.  Arthur BOYD and his wife Yvonne (née Lennie) children Polly, Lucy Jamie BOYD are also artists
 

Auction Results

Under freedom of information we compiled relevant facts for you to enjoy. We believe in sharing the knowledge and express deep gratitude to the websites below in particular, and also to all Australian National galleries, Australian and International Press for information they share with us, without them our research would not be available. We hope you will enjoy the free services.

   

Price excl. GST

Details

$1,950,000

Drowned Bridegroom 1959, Oil and tempera on board, 122x182.8 cm, Sotheby's

$1,680,000

Bride Running Away 1957, Oil tempera on board, 91.5x121.5cm, Sotheby's Australia (now trading as Smith & Singer)

 ABC News Bride Running Away

$1,586,000 Sleeping Bride, Oil and tempera on canvas on board, 91.5 x 122 cm, Sotheby's Australia (now trading as Smith & Singer)

$1,200,000

The Frightened Bridegroom 1958, Oil and tempera on board, 61.7x63.5 cm, Sotheby's Australia (now trading as Smith & Singer)

$1,200,000

Dry Creek Bed 1953-1954, Oil, tempera and resin on board, 91.5x122 cm, Sotheby's Australia (now trading as Smith & Singer)

$1,057,500

Bridegroom Waiting for His Bride to Grow Up, Oil tempera on board, 137x182.9cm, Christies

$1,037,500 Phantom Bride 1958, Oil and tempera on board, .5x139.5cm, Deutscher~Menzies
$1,037,000 The Mourners, Oil on composition board, 84x100.5 cm, Bonhams
$960,000 Lovers by a Creek, Oil and tempera on composition board, 122x91.5 cm, Sotheby's Australia (now trading as Smith & Singer)
$954,000 The Dreaming Bridegoom, Oil and tempera on canvas, 122x152.5cm, Sotheby's Australia (now trading as Smith & Singer)
$900,000 Death of a Husband 1958, Oil on board, 91.5x122.5cm, Deutscher~Menzies
$833,000 Mourning Bride I, Oil on composition board, 121x175cm, Christies
$823,500 Bride in a Cup (1959), Oil on muslin on composition board, 90.5x120cm, Sotheby's Australia (now trading as Smith & Singer)
$732,000 Bridegroom Drinking from a Creek II, Oil and tempera on board, 60.4x80.5cm, Bonhams
$703,000 Bride Walking in a Creek I, Oil and tempera on composition board, 105.5x136.5cm, Sotheby's Australia (now trading as Smith & Singer)
$666,000 The Hunter , Oil and tempera on composition board, 132 x104cm, Sotheby's Australia (now trading as Smith & Singer)
$660,000 Man Ploughing a Field , Oil and tempera on plywood, 60x78cm, Sotheby's Australia (now trading as Smith & Singer)
$660,000 Bride and Bridegroom with Rainbow 1960, Oil and tempera on composition board, 91.5x122cm, Deutscher~Menzies
$585,600 Landscape with Waterhole and Herons, Near Alice Springs 1954, Oil tempera and resin on composition board, 91.5x122cm, Sotheby's Australia (now trading as Smith & Singer),
$573,400 The Prodigal Son, 1946-47, Oil and tempera on casein ground on canvas, 101x121cm, Bonhams
$496,500 Bride Drinking from a Pool 1960, Tempera on composition board, 129.5x152.5cm, Deutscher~Menzies
$442,500 Wimmera Landscape, Oil and tempera on board, 72.4x95.2cm, Christies
$428,500 Bride in a Cave with Rainbow, Oil and tempera on composition board, 90x121cm, Sotheby's Australia (now trading as Smith & Singer)
$427,000 The Old Mine, C.1951, Oil and tempera on composition board, 91x121cm, Deutscher and Hackett
$417,272 Bride in the Moonlight (Bride Turning Into a Windmill), 1960, Oil and tempera on composition board, 91.5x122cm, Menzies
$410,727 The Little Train, 1950, Oil and tempera on composition board, 72.5x105.5cm, Menzies
$398,500 Abraham and the Angels , Oil on canvas, signed lower left, 90 x 120 cm, Sotheby's Australia (now trading as Smith & Singer)
$387,500 Bride Dreaming , Oil on board, 90x122cm, Christies
$378,000 Saul and David c. 1946, Oil on canvas on composition board, 91.5x96.5cm, Deutscher~Menzies
376,000 Bathers Shoalhaven Riverbank and Clouds, Oil on canvas, 259x305cm, Christies
$366,000 Shoalhaven River Bank (3 Rocks) (1983), Oil on canvas, 244.5x199cm, Sotheby's Australia (now trading as Smith & Singer)
$342,500 Berwick Landscape c. 1948, Oil on canvas on board, 60x80.5 cm, Deutscher~Menzies
$341,600 Train Crossing a River (First Version) (1980), Oil on canvas, 114x109cm, Sotheby's Australia (now trading as Smith & Singer),
$336,000 Shoalhaven River 1976 , Oil on canvas, 99x91cm, Deutscher~Menzies
$335,500 Bride in the Moonlight (1960), Oil and tempera on composition board, 61x91cm, Sotheby's Australia (now trading as Smith & Singer),
$330,000 Jacob's Dream, Tempera on board, 107x127cm, Christies
$317,200 Shoalhaven Landscape – Australian Scapegoat (1987), Oil on canvas, 243.5x198.5cm, Sotheby's Australia (now trading as Smith & Singer)

 

 

For more information visit

http://www.aasd.com.au/

http://www.artindex.com.au/

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Museum-quality works of ART of impeccable provenance

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Arthur BOYD Videos  

Video: ABC TV Australian National News 'Family Focus on Best of BOYD' Arthur BOYD, David BOYD, Jamie BOYD, Lenore BOYD, Guy BOYD, Tessa Perceval in Galeria Aniela exhibition open by Cameron O'Reilly NAG

VIDEO (gallery site): ABC TV Australian National News

VIDEO: ABC TV Sunday Afternoon with BOYD family exhibition in Galeria Aniela
 

VIDEO gallery site: ABC Sunday Afternoon, Review

VIDEO: Arthur BOYD auction video | Record price for Bride ... media.theage.com.au

VIDEO: Record price for Arthur BOYD painting smh.com.au

VIDEO: Record price for Arthur BOYD painting watoday.com

VIDEO : Arthur BOYD auction video | Record price for Bride ...media.watoday.com.au

VIDEO: Arthur BOYD auction video | Record price for Bride ...media.brisbanetimes.com.au

VIDEO: Arthur BOYD auction video | Record price for Bride ... media.canberratimes.com.au

VIDEO: Arthur BOYD explains why he paints with his hands: Figures in the Landscape - Documentaries

VIDEO: Arthur BOYD - A curator view of the artist trauma Figure and black rabbit Paintings in the studio

Tate lifts the veil on BOYD Bride |The Australian June 2010

9 News Current Affairs May 2007|  Arthur BOYD painting fetches an impressive $660,000

Tate London acquired Arthur BOYD first Bride at £250,000 June 2010 | London Telegraph

PHOTO: Hon. Bob Hawke (centre), Mrs Blanche D'Alpuget and Aniela

VIDEO: Hon. Bob Hawke AC, The Former Prime Minister of Australia (the longest serving ALP) talks about Australian Aboriginal art and Galeria Aniela

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Galeria Aniela offers an opportunity to purchase museum-quality art of impeccable provenance

About Shoalhaven series 

At the beginning of 1975 Arthur BOYD return to Australia from England, lived for a year on the banks of the Shoalhaven River in New South Wales. The paintings in this collection were conceived during that year.

 

During the 70's Arthur BOYD exhibited Shoalhaven series small paintings at Australian Galleries and Fischer Fine Art London. Fischer went on to become one of the founders of Malborough Fine Art in 1946. These oils are now rare highly priced gems, keenly sought after by Australian and international collectors on the World Art market.

In 1978, Arthur BOYD permanently settled at his home on the Shoalhaven River, named Bundanon. Over the years, Arthur BOYD befriended the formidable landscape, painting scenes of the Shoalhaven River and the surrounding bushland. In a second part of BOYD's painting career from the late 70’s, BOYD landscape works were based mostly on the Shoalhaven River. This resulted in a significant series of paintings that are expression of Arthur BOYD love for Australian landscape.

Shoalhaven paintings are not simply landscapes but a fusion of Australian history and the key in the artist development. The ABC TV & BBC TV co-produced the documentary film, A Man of Two Worlds, based on BOYD's life and work.

In 1993, Arthur BOYD gave to the people of Australia the family properties comprising 1,100 hectares (2,700 acres) at Bundanon on the Shoalhaven River.

The imagery of landscape echoes BOYD Bride pictures and the subsequent Diana and Actaeon series of 1961.

Some of the paintings continue early themes such as Bride drinking from a Creek, Bride with the Necklace Drinking Shoalhaven River and later the last BOYD's Bride Bride with the Serpent.

In the 70's, the wake of the paintings on copper BOYD created Shoalhaven at Sunset, Shoalhaven River Escarpment which literally fixed the Shoalhaven landscape in all its minute detail.

BOYD began, with the ongoing stimulus of Porter's poetry, to introduce the moral narrative to the set.

At the same time, in 1976, BOYD work on the Shoalhaven landscape, with its riverbank and reflecting pools under Pulpit Rock.

In 1984 Arthur and Yvonne BOYD left London to Australia and, more specifically, to their property Bundanon, on the Shoalhaven River. However BOYD's joy at re-discovering the Australian landscape was tempered with a distressing awareness of the careless treatment of the natural environment by reckless and hedonistic visitors.

BOYD was a practical environmentalist who, together with Sidney Nolan, had fought to stop sand-dredging near Riversdale on the Shoalhaven in 1981.

The artist is recorded as saying: "I think Australians have been apt to believe that because this was such a vast land, they couldn't make a mark on it.

But a mark has been made and if it continues at this rate, it will soon be too late..." (Arthur BOYD, cited in J McKenzie, Arthur BOYD Art & Life, London, 2000, p.169).

Thus while the subject matter of BOYD's Bather series followed a long established western art historical tradition, BOYD's rendering of this theme was imbued with both personal and contemporary environmental concerns, as Hoff noted in the following extract:

"BOYD in bathers, which had not occupied him since the early fifties was revived by Cézanne's Bathers in the London, National Gallery. The idyllic and secluded beach, far from the city, which Conder and Streeton had made popular, is replaced by the beach in the technological age. Cars and speedboats, raucous cries of a hedonistic mob break the calm of nature. What BOYD owes to Cézanne is the considered build-up of the figures into a frieze composition. The stunning effect of the huge painting rests on the contrast between hot tints, large forms of a crowd and the beauty of the natural world. Above the garish human turmoil rises the impressive, timeless riverbank. Luminous cumulus clouds scud across the deep blue sky. "

To quote Elwyn Lynn, "the work is the epitome of the creative continuity of Arthur BOYD's art." (U Hoff, op.cit, p.81). Curtsey: Sotheby's catalogue, 23 April 2007.

 

Arthur BOYD Shoalhaven Series of paintings

PHOTO: Aniela Kos and ARTHUR BOYD, Aniela won the trust of one of the most important Australian living artist (1995)

Series of paintings have always been recognized as outstanding contributions to the Australian art of their time.

Transcending social issues and cultural commentary, Arthur BOYD created series of paintings that are without doubt a key group of paintings in the history of Australian art and in Arthur BOYD's development as an artist.

Arthur BOYD produced a number of eminent series of paintings including Shoalhaven River, Wimmera landscape, Nebuchadnezzar  and Bride series.

BOYD's ‘Brides’ paintings were reunited at Melbourne's Heide Museum. In this regard comparable to Sidney Nolan’s Ned Kelly series or Marc Chagall ‘Love and Dream’ series.

In 1978, Arthur and Yvonne BOYD purchased properties and settled permanently at Bundanon on the Shoalhaven River.

In 1979 ABC TV and BBC TV co-produced the television documentary film, A Man of Two Worlds, based on BOYD's life and work.
Over the years, Arthur BOYD painted landscape scenes of the Shoalhaven River and the surrounding bushland.

This resulted in one of the most significant series of ‘Shoalhaven River’ paintings that are not simply landscapes but rather, a fusion of BOYD's European and Australian backgrounds.

Each painting based on the Shoalhaven River in the series is absolutely unique. The precise number of Arthur BOYD paintings produced in the series is unknown nonetheless every painting in each individual series is unquestionably unique.

During the latter part of BOYD's painting career, BOYD landscape works were based on the Shoalhaven River, the series most prized by the public.  

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Museum-quality works of ART of impeccable provenance - Shipping Worldwide

Shoalhaven at Sunset Please Scroll Down for more details
ARTHUR BOYD (1920-1999) Shoalhaven at Sunset c1976-78 oil on copper, 60.5 x 43.0 cm signed lower right: Arthur Boyd

Artist: Arthur BOYD 1920-1999

Title: Shoalhaven at Sunset c. 1970

Signed 'ARTHUR BOYD' lower right

Medium:  Oil on Copper / Rose Madder

Size: 60 cm x 45 cm
Framed : 95 cm x 80 cm

Enquire

Price subject to change without a prior notice 

Arthur Boyd exhibited Oil on Copper artworks at Australian Galleries in 1976 and Fischer Fine Art London in 1977, NOW these exquisitely painted rare gems are keenly sought after by investors and art collectors.

Arthur Boyd 90th Birthday -  Google Logo Boyd-inspired "Shoalhaven at Sunset" , 24 July 2010Shoalhaven at Sunset Google
Inspired by 'Shoalhaven at Sunset' Google reworked the company's logo to mark significant event around the world The Age, 24 July 2010

 

Related Works Shoalhaven Sunset Oil on copper oil-on-copper-pink

Price excl. GST Size Details
$166,220 (£73,500) 30 x 21cm Forest with Boulders Oil on copper sold by Christie's London
$156,000 30.7 x 24 cm Timbered Rock Face Oil on copper sold by  Sotheby's
$144,120.00 (£91,250) 63 x 50.8 cm Shoalhaven Broken Cliff Oil on copper sold by Christie's
$114,115.00 (£50,460) 30.9 x 21cm Forrest circa 1976 Oil on copper sold by Christie's London
Est. $110,000 + B.P. 60.5 x 43cm Shoalhaven at Sunset Oil on copper  Lawson-Menzies
$179,250

90 x 60 cm

Clay Rockface at Bundanon, canvas sold by Christies

$156,000

91 x 60.5 cm

Boat on the Shoalhaven (1981), canvas sold by Deutscher-Hackett

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BOYD had a strong relationship with the Shoalhaven River landscape. The Shoalhaven River was the constant source of inspiration for BOYD's work. From the 70’s BOYD painted landscapes on the Shoalhaven River. This resulted in a significant series of Shoalhaven paintings that are without doubt a key group of paintings in the history of Australian art and in BOYD's development as an artist. There is no precise number of BOYD's works in Shoalhaven series however each artwork based on the Shoalhaven River is absolutely unique. In 1979 the ABC TV and BBC TV co-produced the television documentary film, built on Arthur BOYD life and Shoalhaven landscape. In 1979 the ABC TV and BBC TV co-produced the television documentary film, built on Arthur BOYD life and Shoalhaven landscape.

Rose Madder colour

Rose Madder is one of the most expensive pigments as the plant cultivation was decreased from 1911. Available in Oils, Rose Madder is an excellent glazing pigment. This natural organic lake pigment was first used as a dye for fabrics as the evidence (of its us) can be found in ancient Greek, Roman and Egyptian cloths as far back as 1500 BC. Cloth dyed with madder root pigment was even found in the tomb of Tutankhamun on Egyptian mummies.

Rose Madder is very distinctive rose coloured natural organic pigment is made from the roots of the madder plant, Rubia tinctorum. The pulverised roots can be dissolved in sulfuric acid, which leaves a dye called garance (the French name for madder) after drying. Another method of increasing the yield consisted of dissolving the roots in sulfuric acid after they had been used for dyeing. This produces a dye called garanceux. By treating the pulverized roots with alcohol, colorin was produced. It contained 40–50 times the amount of alizarin of the roots. The roots contain the acid ruberthyrin. By drying, fermenting or a treatment with acids, this is changed to sugar, alizarin and purpurin, which were first isolated by the French chemist Pierre Jean Robiquet in 1826. Purpurin is normally not coloured, but is red when dissolved in alkaline solutions. Mixed with clay and treated with alum and ammonia, it gives a brilliant red colourant (madder lake).

Considered one of the best quality natural pigments, it was well sought after and was brought to Europe by the crusaders. By the 13th century, it was being cultivated across Europe, notably in the Netherlands as their sandy soil provided a favourable environment for the plant. However, the production of madder dye was costly and by 1860, Great Britain was importing madder at the value of £1.25 million a year.

It was necessary to find a better, more reliable method making of the pigment. The renowned colourist George Field made extensive study of the madder plant and in 1804 discovered a more efficient process of extracting the dye and making a stronger, more vibrant pigment. William Winsor understood the importance of George Field’s research and acquired Fields’ notes and experiments following his death in 1854. These 10 volumes formed a basis of some of the colour recipes for the then newly founded Winsor & Newton Company.

The production of Rose Madder is still based on the recipes of George Fields, which Winsor & Newton have exclusive access to and remains a unique pigment with varying shades of rose, browns and purples that cannot be duplicated. Though alizarin (a dye derived from madder) was later synthesised in the 19th century making it far more affordable, the two colours should not be compared. Rose Madder retains a soft depth and richness unlike any other rose available. It is a transparent pigment with granulating properties.

Artists such as Arthur BOYD 1920-1999, Jan Vermeer 1632-1675, J. M. W. Turner 1775-1851, John Constable 1776-1837,William Holman Hunt OM 1827-1910 and James Abbott McNeill Whistler 1834-1903 have used the unique pigment to great effect.

Madder was employed medicinally in ancient civilizations and in the middle ages. John Gerard, in 1597, wrote of it as having been cultivated in many gardens in his day, and describes its many supposed virtues of pharmacological or therapeutic action which madder may possess. Its most remarkable physiological effect was found to be that of colouring red the bones of animals fed upon it, as also the claws and beaks of birds. This appears to be due to the chemical affinity of calcium phosphate for the colouring matter. This property was used to enable physiologists to ascertain the manner in which bones develop, and the functions of the various types of cell found in growing bone.

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NOTES Shoalhaven Escarpment and Shoalhaven at Sunset 1976-78

After ten years in Europe where he built his international profile as a figurative modernist Australian artist, Arthur BOYD and his family returned to Australia and purchased the famous property at Bundanon on the Shoalhaven River in 1978.

From that point on, he set about painting the immense power of the formidable river landscape –  the strength of the land, the river in flood, the passage of twilight, and the almost heraldic image of Pulpit Rock –  generally imbued with allegorical narratives of the human condition.

 

Shoalhaven at Sunset c1975-78 is a jewel-like early Oil on Copper (from the period of the artist greatest artistic acclaim), painted with the colours of the oil paint reflected from an underlying copper surface, giving it the brilliance.

This makes the sunset colours seem heightened, more sensual, but that would be for any viewer who had not been to the Shoalhaven and experienced the intensity of light over the river at sunset. BOYD captures a deeply spiritual experience philosophically tied to notions of sustainability: he strove lifelong for the preservation of the bush landscape for future generations. BOYD’s sunset image shows a white cockatoo coming alive, turning, squawking, descending, as day turns to night. It twists high above the basalt layers of the riverbank.

It is here that the river gums stand above the waterline, straining for water in days of endless drought. BOYD marks his belief in the sustainability of this environment with a foreground triangular structure of rocks and trees, like a strong abiding haven for the descending cockatoo. Professor Peter James Smith BSc (Hons); Msc; M Stats; MFA; Phd. November 3, 2013

 

In 1993 Arthur BOYD has given his beloved home Bundanon and properties on the Shoalhaven River to Australian people. Arthur and Yvonne BOYD's gift of the Bundanon properties and collections has given Australia a unique cultural and environmental asset.

The gift was borne out of Arthur BOYD's often stated belief that 'you can't own a landscape' and the deeply felt wish that others might also draw inspiration from Bundanon.

Gifted to the Australian people in 1993 by Arthur and Yvonne BOYD the Bundanon property (which includes the Bundanon Homestead site and the Riversdale site) is located on 1,100 hectares of pristine bush land overlooking the Shoalhaven River,  in NSW, near Galeria Aniela gallery, two and a half hours south of Sydney.

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Oil on Copper
How to paint on raw copper plate

Since 1700's archival oil-on-copper-plate painting technique has been used by artists for hundreds of years with stunning results. Oil-on-copper plate painting allows superior clarity and brilliance of colour.

The reason Oil-on-copper-plate painting is called archival because unlike canvas or board, copper plate painting with a smooth archival surface assures archival quality that can be easily restored if required.

However painting on copper is a different experience than painting on canvas or board. The technique exposes artists to many challenges and the Copper Plate must be properly prepared for that reason contemporary artists seldom use oil-on-copper-plate painting technique.

A master painter Arthur BOYD 1920-1999 exhibited oil-on-copper plate paintings in Australian Galleries Melbourne (1976) and at Fischer Fine Art London (1977). Now these exquisite oil-on-copper are highly priced rare gems, keenly sought after by the World Art market collectors.

How to prepare copper plate for painting with oils

 1. Cut Substrate for Copper Plate. To prepare copper plate as an archival surface, the artist first cut a solid substrate to glue to the back of the copper plate. This will prevent bending, denting or any other major movement that would cause the painting to crack. The artist must choose flat, medium-density fiberboard and cut it to just under the size of the copper plate.

2. Roughen the Back of the Copper Plate. The artists sands the backside of the copper plate with coarse sandpaper or scratch grooves into the metal. This roughening helps the glue adhere to the surface while keeping the protective plastic on the front of the copper plate.

3. Remove Dust from the Copper Plate. To further ensure a good bond, the artist cleans off the sanded backside of the copper with denatured alcohol.

5. Tape the Copper Plate to the Substrate. To ensure a good bond between the surfaces the artist tape the board to the copper.

 6. Apply Weight to Copper Plate and Substrate. To ensure that the backing does not slip to one side or the other while drying. The artist must not come in contact with the copper plate.

7. Seal the Substrate. When the glue has set, the artists seals the MDF with a wood sealer to prevent warping or other damage from water penetration.

8. Sand and Clean the Front of the Copper Plate. The artists removes the plastic protection from the front of the copper plate and, while wearing a particle dust mask and nitrile gloves, sand the surface with fine-grit sandpaper, taking great care to sand the entire surface thoroughly. If the artist wants a beveled edge on the copper plate, he sands the edges of the plate with a file or a block wrapped in sand paper. Once the sanding is completed, the artist cleans the surface with denatured alcohol and a clean cotton rag or paper towels. The artists keep clean nitrile gloves on during this process to ensure that the oils of your skin.

9. Etch the Copper Plate With Garlic Juice. Once the surface is clean, the artist may remove the particle dust mask and take the plate into the studio. Then the artist cut a clove of garlic and rub it’s juice onto the painting surface or use a brush to apply a thin layer of pure garlic juice onto the surface. Usually several garlic cloves are required and a razor blade on a plate nearby so, after covering a few square inches, the artist can slice or reslice a clove for fresh garlic juice. The garlic juice etches the surface of the copper and allows for a chemical bond to the lead in your primer and/or the lead in white; this is in addition to the mechanical bond that sanding alone would provide.

10. Paint on the Prepared Copper Plate. The artist may paint on the freshly dried, garlic-juice-rubbed copper surface right away with pure oil paint or apply primer to create a silky smooth white surface for paint application.
Artist use lead white either when priming the surface of the copper or in the initial layers of the painting because the lead in the paint will chemically bond to the copper, further ensuring that the paint will have good adhesion to the surface.
If painting directly onto the copper plate, artist covers all areas with paint as exposed copper will eventually change color.
Then again, painting on Copper helps reflecting the colour from the underlying copper surface giving
colours brilliant intensity of glowing light and its brilliance and making it heightened.

How to Prime a Copper Plate. Priming is traditional when painting on copper plate. To do this, the artist applies two coats of very thin lead-based oil primer to the surface. The artist must keep these layers smooth and thin by rubbing on a small amount of the lead primer with the gloved palm of your hand. If artist wish for a smoother surface, after the primer is dry, can carefully wet sand the surface with oil and fine-grit sandpaper.

challenges archival oil-on-copper-plate painting technique

Smooth slippery surface

Flexing of the metal

An unwavering brush

Humidity

Quickly drying paint

must have a variety of brushes of both natural and synthetic fibers

Printmaker’s copper plates usually are .050-inch (16 gauge) thickness, but a thinner plate is perfectly fine for painting on copper.

If Copper plate is properly prepared, it is a smooth, archival oil-painting surface that’s been used by artists for hundreds of years with stunning results.

RETURN to Shoalhaven at Sunset

   

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The Shoalhaven River  with Clouds Framed-The Shoalhaven River-1980
 

Artist: Arthur BOYD 1920-1999

TitleShoalhaven River Escarpment with Trees and Clouds (1980) 

Signed Lower right  'ARTHUR BOYD'

Since the 70’s Arthur BOYD has painted landscapes on the Shoalhaven River. This resulted in a significant series of Shoalhaven paintings that are without doubt a key group of paintings in the history of Australian art and in BOYD's development as an artist. There is no precise number of BOYD's works in Shoalhaven series however each artwork based on the Shoalhaven River is absolutely unique. In 1979 the ABC TV and BBC TV co-produced the television documentary film, built on Arthur BOYD life and Shoalhaven landscape. Arthur BOYD had a strong relationship with the Shoalhaven River landscape. The Shoalhaven River was the constant source of inspiration for BOYD's work. In 1993 Arthur BOYD has given his beloved home located on the Shoalhaven River Bundanon to Australian people.

Medium: Oil on Board 

Size: 31 cm x 21 cm

Framed: 65 cm x 56 cm

Price  subject to change without a prior notice  Enquire

Related Works River with Clouds

Sold Price excl. GST Size Details
$70,760  30 x 19 cm Shoalhaven River (1976)  2020, Smith & Singer
$59,999 35 x 28 cm Blackbirds Shoalhaven Riverbank (1985)
$47,500 29 x 23cm Shoalhaven Riverbank, Menzies
$47,196  30 x 38 cm Shady Riverbank Shoalhaven
$43,470 26 x 33cm

Evening on Shoalhaven Deutscher&Hackett

$41,480 30.5 x 20cm

Shoalhaven Riverbank, Deutscher&Hackett

$41,480 30 x 19cm

Shoalhaven River Cockatoo, Deutscher&Hackett

 

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Bride Drinking from Shoalhaven River Please Scroll Down for more details
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Artist: Arthur BOYD 1920-1999

Title: Bride with the Necklace, Pulpit Rock , Shoalhaven River 1970-75

Medium: Oil on Board; Signed lower right: Arthur BOYD

Sizes: 30.6 cm x 20.8 cm

Framed: 65 cm x 56 cm

Bride with the Necklace is much more tender than other BOYD works from his earlier BRIDE series, such as The Frighten Bridegroom. The Necklace symbolize precious Jewels, the GIFT that the artist donated to Australia. Bride series is the most romantic and most valuable series of paintings.

Price subject to change without prior notice  Enquire

Related Works Small Bride

Price excl. GST Size Details
$268,400 31 x 38 cm Bridegroom Waiting for Bride to Grow Up, Oil on board, Sotheby's
$244,000 25 x 30 cm Persecuted Lovers - Study, Oil on board, Bonhams

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Arthur BOYD beautiful 'Bride' paintings are rare and among his finest, a beautiful powerful figure of BOYD imagery.

BOYD 'Brides' are in major public collections: Tate Gallery LondonNational Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia confirm the stature of Arthur BOYD legacy in Australian and international art.

Arthur BOYD, Bride Running Away, Sotheby's Sold for $1,680,000 (5/08/2012) and 'The Frightened Bridegroom' SOLD for: $1,200,000 (23/08/2011)

Arthur BOYD Bride with the Necklace drinking from the Shoalhaven River  is a master work, painted with great buoyancy circa 1970-75.

On the background of the Pulpit Rock ‘The Bride’ descends to Shoalhaven River to drink water.

The symbolism of water has a universal undertone of ‘purity and fertility’ and is often viewed as the source of life itself. Symbolically water means Transformation, Subconscious, Fertilization, Purification, Reflection, Intuition, Renewal, Blessing, Motion and Life.

The Bride, associated with love, beauty and fertility is wearing a 'Necklace'. The ‘necklace’ symbolizes the beauty and look of wealth.

Bride's Necklace is precious Jewels, symbolizing the GIFT that the artist donated to Australia.

Necklace believed to hold the power and resembles growth and new beginnings. But also, more spiritually, a Necklace stands for; nurturing and growth, awakening and positive change. Historically a necklace has cultural significance to commemorate ancestors and honour the stories.

The painting ’Bride with Necklace drinking from Shoalhaven River’ is characteristically BOYD painted with great attention to details and superb tone of colour and texture.

It is one of BOYD's most beautiful small Brides paintings of the prestigious the Bride series.

Arthur BOYD had a strong relationship between the landscape and the Shoalhaven River.

The Shoalhaven River was the constant source of inspiration for Arthur BOYD's work. In 1993, Arthur BOYD gave his Bundanon estate on Shoalhaven River in NSW to the nation for the benefit of many.

Galeria Aniela presents an opportunity to purchase a museum-quality art of impeccable provenance the World Art Market offers to International and Australians collectors.

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Bride and SerpentPlease Scroll Down for more details

Artist: Arthur BOYD 1920-1999

Title: Bride and the Serpent

One of Arthur Boyd's most romantic series of paintings is Bride series. The hauntingly beautiful Bride paintings are among Boyd's finest works. Brilliantly executed, Bride carry expression of human conscience, magical ambiance, and the voice of understanding. Bride paintings have the presence at major public museums and galleries including Tate Gallery LondonNational Gallery of Victoria, National Gallery of Australia, confirming the stature of Arthur BOYD legacy in Australian and international art.

Bride with the Serpent is much more gentle and tender than other works from the original Bride series, such as Drowned Bridegroom. The Serpent symbolise wisdom and abundance.

Signed:  ARTHUR BOYD lower right

Medium: Oil on Canvas

Size: 122.5 cm x 93.5 cm

Framed: 150 x 122 cm

Price may change without a prior notice  Enquire

Exhibited:

1995 Bundanon Trust filmed by Australian National Nine Network TV Channel Nine

1995 (televised 13-10) Burke of Burke's, Burke's Backyard and Australian National TV Channel Nine

1997 Galeria Aniela Best of BOYD Exhibition opened by Cameron O'Reilly Chairman NGA

1997 VIDEO the Australian National NEWS ABC TV at Galeria Aniela

1997 VIDEO the Australian National Sunday Afternoon ABC TV at Galeria Aniela

1997 BOYD exhibition coup the  Front page Sydney Morning Herald (17/05/1997)

2005 The Art Lounge Gallery, Sydney, Edmund Capon Director Art Gallery of New South Wales

 

Related Works Bride

Price excl. GST

Details

$1,950,000

Drowned Bridegroom 1959, Oil and tempera on board, 122x182.8 cm, Sotheby's

$1,680,000

Bride Running Away 1957, Oil tempera on board, 91.5x121.5cm, Sotheby's Australia (now trading as Smith & Singer)

 ABC News Bride Running Away

$1,586,000 Sleeping Bride, Oil and tempera on canvas on board, 91.5 x 122 cm, Sotheby's Australia (now trading as Smith & Singer)

$1,200,000

The Frightened Bridegroom 1958, Oil and tempera on board, 61.7x63.5 cm, Sotheby's Australia (now trading as Smith & Singer)

$1,057,500

Bridegroom Waiting for His Bride to Grow Up, Oil tempera on board, 137x182.9cm, Christies

$1,037,500 Phantom Bride 1958, Oil and tempera on board, .5x139.5cm, Deutscher~Menzies
$960,000 Lovers by a Creek, Oil and tempera on composition board, 122x91.5 cm, Sotheby's Australia (now trading as Smith & Singer)
$954,000 The Dreaming Bridegoom, Oil and tempera on canvas, 122x152.5cm, Sotheby's Australia (now trading as Smith & Singer)
$900,000 Death of a Husband 1958, Oil on board, 91.5x122.5cm, Deutscher~Menzies
$833,000 Mourning Bride I, Oil on composition board, 121x175cm, Christies
$823,500 Bride in a Cup (1959), Oil on muslin on composition board, 90.5x120cm, Sotheby's Australia (now trading as Smith & Singer)
$732,000 Bridegroom Drinking from a Creek II, Oil and tempera on board, 60.4x80.5cm, Bonhams
$703,000 Bride Walking in a Creek I, Oil and tempera on composition board, 105.5x136.5cm, Sotheby's Australia (now trading as Smith & Singer)
$666,000 The Hunter, Oil and tempera on composition board, 132 x104cm, Sotheby's Australia (now trading as Smith & Singer)
$660,000 Bride and Bridegroom with Rainbow 1960, Oil and tempera on composition board, 91.5x122cm, Deutscher~Menzies
$496,500 Bride Drinking from a Pool 1960, Tempera on composition board, 129.5x152.5cm, Deutscher~Menzies
$428,500 Bride in a Cave with Rainbow, Oil and tempera on composition board, 90x121cm, Sotheby's Australia (now trading as Smith & Singer)
$417,272 Bride in the Moonlight (Bride Turning Into a Windmill), 1960, Oil and tempera on composition board, 91.5x122cm, Menzies
$335,500 Bride in the Moonlight (1960), Oil and tempera on composition board, 61x91cm, Sotheby's Australia (now trading as Smith & Singer)
 

About Arthur BOYD 'Bride series'

In 1951 30-year-old Arthur BOYD travelled to Central Australia where he witnessed the strained relationships between indigenous Australians and white Australians. In Persecuted lovers, a painting from the series Love, Marriage and Death of a Half-Caste 1957–58 a rifleman takes aim on two lovers with silent murderous anticipation.

In 1957, Arthur BOYD developed his first series of Bride images, known more formally as Love, Marriage and Death of a Half-caste. The early works in the series had as their focus the relationship between Australia's white and indigenous occupants. By the 1960s, however, this earlier political emphasis had changed: BOYD's attention was fixed more on the subject of the bride in the landscape.

In his 1960s images, BOYD frequently combined the motif of a bride drinking from a river with another favoured visual trope "the diagonally plunging figure with the bridal gown flared-out and bell-shaped there is a play with the poetic ambivalence of metaphoric associations: the drinking bride is insect-like, as is the washing figure, not spider now but rather dragonfly or butterfly, a white bridal insect lost and watched in wild solitude." (F. Phillipp, Arthur BOYD, London, 1967, p.100).

The bride's appearance in Bride on the Shoalhaven is reminiscent of these works from the 1960s, particularly Bride Drinking from a Pool. Nevertheless, in Bride on the Shoalhaven, painted in the mid-1980s, the wild solitude of BOYD's 1960s landscape has lightened, becoming less embedding of the figure it surrounds: a shift perhaps prompted by BOYD's acquisition of his beloved Bundanon.

The artist first visited Bundanon, a property located on the Shoalhaven River on the south coast of New South Wales, in 1971. BOYD felt an immediate affinity with the area and in 1973 purchased the nearby property of Riversdale, subsequently acquiring Bundanon in 1979.

The canvas follows a format familiar to BOYD's Shoalhaven paintings of the mid-1970s, with the surface broken up into horizontal bands containing cobalt blue sky, the steep slope of the riverbank and the river. The disparate elements are linked by both the textural application of the paint, as well as the immense figure of the bride, who swoops, bird-like, into the water. Her vertical movement is replicated by the trunks of the trees, which divide the canvas by stripes of white, grey and taupe.

 

Museum-quality works of ART</