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Guy Martin à Beckett BOYD 1923-1988

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

Guy Martin à Beckett Boyd, known as Guy Boyd is a renowned Australian sculptor famous for his ability to capture the fluidity and sensuality of the female form.

Guy Boyd commissions include sculptures in Melbourne and Sydney's international airports, Caulfield Town Hall, the Commonwealth Bank and has pieces in the National Gallery of Victoria and many public collections. Guy Boyd had exhibitions of his work in Australia, the United Kingdom, Canada and USA.

In 1968 Guy Boyd won a Churchill Fellowship to study art overseas. He was recognised with a large format monograph, Guy Boyd written by gallerist Anne Von Bertouch and art historian Patrick Hutchins and published by Lansdowne Press. Later that year Guy and Phyllis migrated to Canada with their four younger children, settling in Toronto in 1976, but returned to live in Australia five years later. In 1988 Guy Boyd was appointed the Art Advisor to Deakin University. 


Bibliography Collections Exhibitions

 Guy Boyd
 Dancer In Repose
Size: 35 cm x 15 cm

Price: $9,500 subject to change Enquire

 Guy Boyd 1923-1988
 Bathing Graces
Silver patina on Bronze
Size: 46 cm x 46 cm

Price: $15,000 subject to change  Enquire

Prices subject to change without a prior notice

 Guy Boyd
The Violinist (1979)
 Bronze 4 of 12
46 cm high

Price: $35,000 subject to change Enquire

1979: Shaw Gallery, Toronto
1980: The Randall Gallery, New York

 Guy Boyd
edition of 12
signed 'Guy Boyd' on base

51 cm high

Price: $28,000 subject to change Enquire

David Ellis Fine Art, Melbourne

  VIDEO the ABC TV Australian National NEWS |BOYD in Galeria Aniela 

 Guy Boyd
The LOVERS (1981)
 Bronze 6/9
42 cm high

Price: $30,000 Enquire

signed 'Guy Boyd' dated 1981


 Guy Boyd 1923-1988
Graces 1/12

Price: SOLD

Click to Enlarge: Guy Boyd, Portrait of brother (Arthur Boyd) Bronze, SOLD
 Guy Boyd
 Portrait of Arthur Boyd
38.5 cm

Price: SOLD



 VIDEO: ABC TV Australian National News, Best of Boyd exhibition in Galeria Aniela open by Cameron O'Reilly, Deputy Chairman Australia National Gallery with Arthur Boyd, David Boyd, Guy Boyd, Jamie Boyd, Lenore Boyd, Tessa Perceval

VIDEO Jamie Boyd, Arthur Boyd, Guy Boyd, David Boyd,  Lenore Boyd filmed in Galeria Aniela
Pic: Cameron O'Reilly National Gallery of Australia opened the exhibition

VIDEO: Best of Boyd family exhibition Arthur Boyd, Guy Boyd, David Boyd Jamie Boyd, Lenore Boyd in Galeria Aniela 
Picture Aniela Kos

VIDEO gallery site: ABC TV Australian National News

VIDEO : ABC TV Sunday Afternoon in Galeria Aniela, Boyd family exhibition Arthur Boyd, David Boyd, Guy Boyd, Jamie Boyd, Lenore Boyd, Tessa Perceval

VIDEO  ABC TV Australian National News, Best of Boyd family exhibition Arthur, Guy, David, Jamie, Lenore Boyd filmed in Galeria Aniela

VIDEO gallery site: ABC TV Sunday Afternoon, Review, Arthur Boyd, Lenore Boyd, David Boyd exhibition in Galeria Aniela

VIDEO: ABC TV SUNDAY Afternoon, Best of Boyd family exhibition Arthur, Guy, David, Jamie and Lenore Boyd filmed in Galeria Aniela


VIDEO filmed by Australian Television | the ABC TV Sunday Afternoon in Galeria Aniela



Guy Martin à Beckett Boyd (12 June 1923 – 26 April 1988) Australian sculptor 

Guy Boyd belongs to the distinguished artistic Boyd dynasty that began in 1886 with the marriage of Emma Minnie à Beckett (1858-1936) and Arthur Merric Boyd (1862-1940). He had 7 children including Lenore Boyd.

Guy Boyd was born in Murrumbeena, Victoria, he was a member of the famous Boyd artistic dynasty, and brother of painters Arthur Boyd and David Boyd.

Guy Boyd was a potter and figurative sculptor noted for his ability to capture the fluidity and sensuality of the female form. He was also active in environmental and other causes, including the damming of Tasmania's Franklin River and the Lindy Chamberlain affair.

Initially Guy Boyd was a potter, establishing both Martin Boyd Pottery and later Guy Boyd Pottery. These studios produced a wide range of modernist objects from house-wares to decorative pieces which enjoyed strong commercial success. Iconic Australian imagery, particularly flora and indigenous motifs, feature heavily. This period of work is also stepped in the 'atomic age' aesthetics of the 1950s and early 1960s with a familiar color palate and shapes that hold strong Echoes of Eames and others.

Guy Boyd turned away from this commercial work and to a full-time career in sculpture in 1965. His commissions include sculptures in both Melbourne and Sydney's international airports, Caulfield town hall, the Commonwealth Bank and has pieces in the National Gallery, Melbourne. He has had exhibitions of his work in Australia, England, Canada and the US. He also won the Churchill Fellowship to study art overseas in 1968 and was appointed the Art Advisor to Deakin University in 1988. 'Guy Boyd' written by Anne Von Bertouch and Patrick Hutchins was published by Lansdowne Press in 1976.

Guy Boyd was Australian Co-ordinator of 'Save Lindy Chamberlain' and wrote the book 'Justice in Jeopardy' in her defence. He was President of the Brighton Foreshore Protection Committee, which he founded with a plaque commemorating his achievements in preserving the Brighton Foreshore erected on the beach at Brighton, Victoria, Melbourne. He was President of the Port Phillip Protection Society and was arrested campaigning against the damming of the Franklin River in Tasmania. He migrated to Canada with his wife and four younger children, settling in Toronto in 1975, but returned to live in Australia five years later. Died 26 April 1988.

Guy Boyd grew up with his extended family in the idyllic environs of Murrumbeena, Victoria which served as a large, rambling studio/house where creativity was encouraged and nurtured. His passion for sculpture became apparent during this period and at the age of twelve he made a conscious decision to become a sculptor. After experimenting with many other pursuits, most notably pottery, his ambition was realised in 1964 when he devoted himself to full-time sculpting.

The major themes that run through the work of Guy Boyd include symbolism, myth, lovers and women. His ability to capture the fluidity and sensuality of the human form is extraordinary. His appreciation for the female form is widely known with the execution of many beautiful works a testament to this inspirational muse.

Apart from his work as a celebrated sculptor, Guy Boyd was also father to seven children including Lenore Boyd and he played a major role in many environmental issues throughout his lifetime.

Guy Boyd (sculptor) visit Wikipedia, the free encyclopaedia


Guy Boyd career was in sculpture, in 1965 he held his first solo show at Australian Galleries in Melbourne. Guy Boyd commissions include sculptures in Melbourne and Sydney's international airports, Caulfield Town Hall, the Commonwealth Bank and has pieces in the National Gallery of Victoria, Melbourne.

Guy Boyd had exhibitions of his work in Australia, the United Kingdom, Canada, and the United States.

In 1968 he won a Churchill Fellowship to study art overseas. He was recognised with a large format monograph, Guy Boyd written by gallerist Anne Von Bertouch and art historian Patrick Hutchins and published by Lansdowne Press.

Later that year Guy and Phyllis migrated to Canada with their four younger children, settling in Toronto in 1976, but returned to live in Australia five years later. He was appointed the Art Advisor to Deakin University in 1988.


Guy Boyd Technique

Boyd's early sculptures and reliefs were mostly in terracotta and plaster. James Gleeson, writing in the Sun-Herald, Sydney in June 1966 provides insight into Boyd's choice of sculptural medium during his transition from the ceramic industry, his method of working, and its influence on the forms he favoured:

Boyd's technique is not merely original (for that in itself is not necessarily a virtue), it is original and entirely at one with the intention of the artist. He has perfected the ideal means for saying what he wants to say, so the originality of his technique is also artistically important. First stage in the transmutation of nature into art is a wax model. This is the creative stage when the soft wax must be thumbed into a work of art that is alive with the vibrancy of nature. The next stage is the plating of the model with silver or copper, but the usual process would smooth away the subtleties of surface modelling and destroy its vitality. So the wax effigy sits in its acid bath for weeks on end and a very low charge of electricity gradually deposits a paper thin layer of metal on its surface. The wax is chemically dissolved, the shell is strengthened on the inside and finally filled with a plastic stone that will neither expand nor contract to endanger the metal skin.

Boyd also experimented with an electrolytic deposition of silver combined with a layer of copper, but abandoned that after finding that applying heated carbon tetrachloride to dissolve the wax from the metal shell was affecting his health. Boyd discontinued the electroplating with powdered granite compound infill described above in 1966, and the majority of his mature work is fine-face bronze casts using the lost wax process, in which he innovated through the admixture of silicon with wax, with editions of usually six produced in bronze and aluminium. Often a thin finish in silver is applied over the bronze or aluminium cast, oxidised to near-black then burnished lightly to reveal texture in relief; his 1971 Aboriginal Legend of Flight, commissioned for Sydney Kingsford Smith International Airport arrivals gate,[16] after an earlier version (1969) for Tullamarine Airport, is an example. It is five and a half metres in width, modelled in clay, cast in plaster and then sand-cast in aluminium in 27 sections, coated in sterling silver over nickel and copper layers, then oxidised before being bolted together and the joins concealed. It is displayed against a black Swedish marble wall.

Of his working technique, art historian, art critic and curator Sasha Grishin noted that Boyd worked directly with his wax or clay, rather than through preparatory drawings, accepting the modelling and subtraction of material, and revelation of the unexpected, as crucial to the creative process.



Major Exhibitions

·   1965: Australian Galleries, Melbourne

·   1965: Bonython Art Gallery, Adelaide

·   1966: Bonython's Hungry Horse Art Gallery, Sydney

·   1967: Australian Galleries, Melbourne

·   1967: The Johnstone Gallery, Brisbane

·   1968: Bonython Art Gallery, Adelaide

·   1968: Von Bertouch Galleries, Newcastle

·   1969: The Johnstone Gallery, Brisbane

·   1970: The Leicester Galleries, London

·   1970: Bonython Art Gallery, Sydney

·   1971: Andrew Ivanyi Galleries, Melbourne

·   1971: Von Bertouch Galleries, Newcastle

·   1971: Skinner Galleries, Perth

·   1972: Bonython Art Gallery, Adelaide

·   1972: The Johnstone Gallery, Brisbane

·   1973: Manyung Galleries, Victoria

·   1973: Von Bcrtouch Galleries, Newcastle

·   1973: Skinner Galleries, Perth

·   1974: Andrew Ivanyi Galleries, Melbourne

·   1974: Phillip Bacon Galleries, Brisbane

·   1975: Greenhill Galleries, Adelaide

·   1975: Andrew Ivanyi Galleries, Melbourne

·   1976: von Bertouch Galleries, Newcastle

·   1976: Philip Bacon Galleries, Brisbane

·   1976: Dominion Gallery, Montreal

·   1977: The Randall Gallery, New York

·   1978: Philip Bacon Galleries, Brisbane

·   1978: Retrospective: The Australian Embassy, Washington DC

·   1979: Shaw Gallery, Toronto

·   1980: The Randall Gallery, New York

·   1980: Philip Bacon Galleries, Brisbane

·   1981: von Bertouch Galleries, Newcastle

·   1981: Holdsworth Galleries, Sydney

·   1982: Philip Bacon Galleries, Brisbane

·   1983: von Bertouch Galleries, Newcastle

·   1983: Holdsworth Galleries, Sydney

·   1984: Greenhill Galleries, Perth

·   1984: Niagara Galleries, Melbourne

·   1984: Philip Bacon Galleries, Brisbane

·   1985: von Bertouch Galleries, Newcastle

·   1985: Holdsworth Galleries, Sydney

·   1985: Golden Age (David Ellis) Gallery, Ballarat

·   1986: Clarkson University, New York

·   1987: Philip Bacon Galleries, Brisbane

·   1987: David Ellis Fine Art, Melbourne

·   1987: Beaver Galleries, Deakin, Canberra

·   1988: Holdsworth Galleries, Sydney

·   1988: Greenhill Galleries, Perth Posthumous solo

·   1989: von Bertouch Galleries, Newcastle

·   1990: Philip Bacon Galleries, Brisbane

From 1945, Guy Boyd exhibited in group shows all Australian State capitals, with representation as recently as 2012, and overseas, including Leicester Galleries, London in 1957, and at galleries in New York, San Francisco and Montreal.



Collections and Commissions

·   Australian National Gallery, Canberra

·   National Gallery of Victoria, Melbourne

·   Art Gallery of New South Wales, Sydney

·   Australian National University

·   University of Melbourne, Melbourne

·   University of Newcastle, Newcastle

·   University of Wollongong

·   McClelland Sculpture Park and Gallery, Melbourne

·   Colac Otway Sculpture Park

·   Churchill House, Canberra

·   International Airport, Melbourne

·   International Airport, Sydney

·   Prudential Art Museum, Toronto

·   Art Gallery of Ballarat

·   La Trobe University, Melbourne

·   Monash University, Melbourne

·   Australian Institute of Sport, Canberra

·   Newcastle Art Gallery

·   Museum and Art Gallery of the Northern Territory, Darwin

·   Deakin University

·   Australian Catholic University

·   Clarkson University, New York

·   Shepparton Art Museum[57]

The bronze Lovers given to Melbourne University by Boyd and housed in the fourth floor bridge in the John Medley Building, was stolen and never been recovered. Boyd provided a replacement, a bather figure for the east garden of University House.[41]




·   Niall, Brenda (2002) The Boyds. Melbourne University Press. ISBN 0-522-84871-0.

·   Von Bertouch, Anne; Hutchings, Patrick; Boyd, Guy Martin a'Beckett, 1923- (1976), Guy Boyd, Melbourne Lansdowne Press, ISBN 978-0-7018-0079-6

·   Scarlett, Ken (1980), Australian Sculptors, Nelson

·   Barbara A Rothermel (1989) The life and works of Australian sculptor Guy Boyd, 1923-1988, Thesis, M.L.S. University of Oklahoma 1989.


Published works

·   Boyd, Guy, ed. (1984). Justice in jeopardy: twelve witnesses speak out. Cheltenham, Vic.: Guy Boyd: distributed by Kingfisher Books. p. 207. ISBN 0-9591142-0-3.




silver patina on Bronze

 Silver Patina applied on bronze sculpture is expensive. Unlike conventional patinas, silver patina is costly and requires special protective wear (in addition to eye and face protection, long sleeves and particular gloves) as the hot patina actively splatters and permanently damage and discolours skin and fingernails. Nitrate toxicosis in humans can occur through enterohepatic metabolism of nitrate to ammonia, with nitrite being an intermediate.

All patinas are formed by chemical reactions on the surface of metals. Sculptural patinas are made by mixing chemicals and applying them to the surface by brushing chemical solutions onto the surface of Bronze while heating that surface with an oxyacetylene torch.

Others patinas are formed over several days by burying the piece in wood chips soaked with other patina chemicals. Often, the final patina is a result of two or more different patinas layered one over another.  

Nitrites oxidize the iron atoms in hemoglobin from ferrous iron (2+) to ferric iron (3+), rendering it unable to carry oxygen. This process can lead to generalized lack of oxygen in organ tissue and a dangerous condition called methemoglobinemia.Humans are vulnerable to methemoglobinemia due to nitrate metabolizing triglycerides present at higher concentrations than at other stages of development. Some can be more susceptible to the effects of nitrate than others.

The Nitrate ion is a polyatomic ion with the molecular formula NO−3 and a molecular mass of 62.0049 g/mol. It is the conjugate base of nitric acid, consisting of one central nitrogen atom surrounded by three identical oxygen atoms in a trigonal planar arrangement. The nitrate ion carries a formal charge of negative one, where each oxygen carries a −2⁄3 charge whereas the nitrogen carries a +1 charge, and is commonly used as an example of resonance.

The Silver patina is a ‘solution of silver nitrate’ applied to  Bronze using the ‘torch technique’, care must be taken subsequently to bring up the desired effect. Flakes of silver nitrate and stir to dissolve then apply while heating the metal till steams off as the patina is brushed on.

Patterns can be made with brushstrokes. Silver patina colour variation (from dark gunmetal depths to brighter silvers) is not entirely controllable and requires specialised knowledge as well as the extensive expertise.

The grey and white effects of silver can be rinse off, wearing rubber gloves (to keep the residue off hands) when the surface is first cooled. Once it is rinsed and completely dry, it can be waxed. Once the wax is dry, the surface can be buffed to produce a shiny silver or silver-grey colour, sometimes dramatically different from the un-buffed look. When the patina dries it is mostly a dull, variegated grey-white, with hits of green and occasional shiny silver flecks.

The loose white can be gently rinse away, then wax is applied to the surface, finally (when the wax is well hardened) the sculpture can be buff it on a soft brass brush wheel to bring up a cloudy mottled silver-grey with a medium-high gloss.

Much of the white is powdery, however, and must be fixed with a spray fixative if the matte grey-white effect is to be kept; otherwise, the white powder will smudge with the application of the protective ‘wax coating’. When the matte effect is preserved then the patina is called Grey.

If a thin foil of silver is applied onto the object then the electro-plating process is used to apply a thin layer of gold to a metal surface. A method of coating a metal object with silver by passing an electric current from a block of pure silver to the article to be plated through a solution of cyanide and silver salts. Electro-plated Nickel Silver, with a nickel based alloy being the base metal to be plated.



Galeria Aniela specializes in selling museum-quality artworks of impeccable provenance.

Founded in 1994, Galeria Aniela built renown in Australia and the World, selling Modern Art of impeccable provenance from important Australian artists post the WWII until today.

Artists include Jamie Boyd, Arthur Boyd, Brett Whiteley, Guy Boyd, Lenore Boyd, John Perceval, Charles Blackman, Stephen Glassborow, Robin Holliday, Ningura Napurrula, Danielle Legge, Nancy Nungurrayi, Charlie Tjapangarti, William SandyBilly Stockman, Garry Shead, Bobby West Tjupurrula, Nyurapayia Nampitjinpa aka Mrs. Bennett and more.

The BOYD family exhibition coup the front page of Sydney Morning Herald, Australian National News ABC TV and Sunday Afternoon ABC TV. John Perceval Retrospective conquer Australian National News ABC TV and Charles Blackman Retrospective attain Art-Scream. Deep thanks to Cameron O’Reilly, David Attenborough, Bob Hawke, the former Prime Minister of Australia and countless art-buyers for their support.


When you purchase a work of art from Galeria Aniela, we immediately pay the artist, helping artists make a living with their creations.

Whether you are a first time buyer, an enthusiastic collector or an astute investor, our people focused approach ensures an enjoyable and rewarding experience.

If you seek a specific artist's work we adept at acquiring the artwork that is right for you and within your budget, helping you to save time and money.

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