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Guy Martin à Beckett BOYD
1923-1988 |
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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. |
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Guy Boyd
Dancer In Repose
Bronze
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 |
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Prices
subject to change without a prior notice |
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Guy Boyd
The Violinist (1979)
Bronze 4 of 12
Size:
46 cm high
Price:
$35,000
subject to
change
Enquire
Exhibited:
1979: Shaw Gallery, Toronto
1980: The Randall Gallery, New York |
Guy Boyd
Girl
Bronze
edition of 12
signed 'Guy Boyd' on base
Size:
51
cm high
Price: $28,000
subject to
change
Enquire
Exhibited:
1987
David Ellis Fine Art, Melbourne |
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Guy Boyd
The LOVERS (1981)
Bronze 6/9
Size:
42 cm high
Price:
$30,000
Enquire
signed 'Guy Boyd' dated 1981
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Guy Boyd 1923-1988
Graces 1/12
Bronze
Price:
SOLD |
Guy Boyd
Portrait of Arthur Boyd
Bronze
38.5 cm
Price:
SOLD |
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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 sit e:
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
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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.
exhibitions
Major
Exhibitions
·
1965: Australian Galleries, Melbourne
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1965: Bonython Art Gallery, Adelaide
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1966: Bonython's Hungry Horse Art Gallery, Sydney
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1967: Australian Galleries, Melbourne
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1967: The Johnstone Gallery, Brisbane
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1968: Bonython Art Gallery, Adelaide
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1968: Von
Bertouch Galleries,
Newcastle
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1969: The Johnstone Gallery, Brisbane
·
1970: The Leicester Galleries, London
·
1970: Bonython Art Gallery, Sydney
·
1971: Andrew Ivanyi Galleries, Melbourne
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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
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1973: Skinner Galleries, Perth
·
1974: Andrew Ivanyi Galleries, Melbourne
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1974: Phillip Bacon Galleries, Brisbane
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1975: Greenhill Galleries, Adelaide
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1975: Andrew Ivanyi Galleries, Melbourne
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1976: von Bertouch Galleries, Newcastle
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1976: Philip Bacon Galleries, Brisbane
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1976: Dominion Gallery, Montreal
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1977: The Randall Gallery, New York
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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
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1981: Holdsworth Galleries, Sydney
·
1982: Philip Bacon Galleries, Brisbane
·
1983: von Bertouch Galleries, Newcastle
·
1983: Holdsworth Galleries, Sydney
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1984: Greenhill Galleries, Perth
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1984: Niagara Galleries, Melbourne
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1984: Philip Bacon Galleries, Brisbane
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1985: von Bertouch Galleries, Newcastle
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1985: Holdsworth Galleries, Sydney
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1985: Golden Age (David Ellis) Gallery, Ballarat
·
1986: Clarkson University, New York
·
1987: Philip Bacon Galleries, Brisbane
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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
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.
·
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.
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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.
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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 Sandy, Billy
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.
2022
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pay the
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helping artists make a living with their creations.
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