Arthur Galeria Aniela the world’s local fine art gallery

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Established in 1994, Galeria Aniela won the trust of some of the most important Australian artists with Charles Blackman, Arthur Boyd, David Boyd, Jamie Boyd, Lenore Boyd, Nathaniel Boyd, Bogdan Fialkowski, Pamela Griffith, Col Henry, Robin Holliday, Pin Hsun Hsiang, Danielle Legge, Regina Noakes, John Olsen, John Perceval, Celia Perceval, Tessa Perceval, Dino Rogliani, Kinga Rypinska, Garry Shead, Gaye Spencer, Michael Vaynman, Susan Weaver and also Arthur Merric Boyd, Emma Minnie Boyd, William Merric Boyd and Ray Crooke. We sell to a world wide buyer base, items of impeccable provenance and quality, recognizing the importance of a buyer confidence in purchasing genuine, authentic and original works of art. Galeria Aniela combines the knowledge of art and financial expertise. Our people focused approach ensures an enjoyable and a rewarding experience.

For SALE     about us     Collecting art     payment-delivery     exhibitions     VIDEOS     resources

Arthur Boyd (1920-1999) paintings  Share your enjoyment in Arthur Boyd art  Click – Share your enjoyment in art  Email             A Century of Boyd
A Century of Boyd officially opens 24 March by The Hon. Bob Hawke, Former Prime Minister of Australia
Auction results  Frightened Bridegroom sold for $1.2 million and Bridegroom waiting for Bride to Grow Up fetch $1,073,250
Biography Arthur Boyd, one of the most important Australian artists.
Boyd Videos
Boyd limited edition Prints for sale

 Click - Arthur Boyd, Shoalhaven Riverbank 1970, Oil on copper, 62 x  45 cm
Shoalhaven Escarpment 1975, oil on copper, 62x45cm Buy NOW price: email

Click - Arthur Boyd, Shoalhaven at Sunset 1975, oil on copper, 62 x 45 cm
Shoalhaven at Sunset 1976, oil on copper, 62x45cm  Buy NOW price:  email

Click - Arthur Boyd, Shoalhaven River Escarpment 1970, Oil on board, 36 x  29 cm
Shoalhaven Escarpment 1975, oil on board, 36x29cm  Buy NOW price:  email

Convert Currency   Buy Now  prices may change without a prior notice   email  or  phone +612 4465 1494

Click - Arthur Boyd, Nude Unveiled, Oil and collage on board paper, 55 x 65 cm
Nude Unveiled, oil and collage, 55x65 cm
Buy NOW price: $19,500

Click to Enlarge - Arthur Boyd, Shoalhaven River, Three White Cockatoos, oil on board, 38 x 31 cm
Shoalhaven River, Three White Cockatoos, oil on board, 38x31 cm Buy NOW price: $49,500

Click - Arthur Boyd, Shoalhaven River, Swan, Two Cockatoos, oil on board, 38 x 31 cm
Shoalhaven River, Two Cockatoos, Black Swan, 38x31cm
Buy NOW price: $49,500

Buy Now  prices may change without a prior notice   email  or  phone +612 4465 1494
Click to Enlarge, Arthur Boyd, Wetland - Shoalhaven River, oil on board, 30 x 30 cm
Wetland, Shoalhaven circa 1975, oil on board,
30x20 cm
 Buy NOW price:  email
Click - Arthur Boyd, Shoalhaven River, Black Swan and Three White Cockatoos, oil on board, 38 x 31cm
Shoalhaven River, Three Cockatoos, Black Swan, 38x31 cm Buy NOW price: $49,500
Click - Arthur Boyd, Shoalhaven River with Black Swan, oil on board, 38 x 31 cm
Shoalhaven River with Black Swan, oil on board, 38x31cm  Buy NOW price: $49,500

Buy Now  prices may change without a prior notice   email  or  phone +612 4465 1494

Click - Arthur Boyd, Nebuchadnezzar on Fire 1968-70, illustrated, oil on canvas, 21 x 25 cm
Nebuchadnezzar on Fire 1968-70
 
Buy NOW price: $35,800

Click - Arthur-Boyd, Nebuchadnezzar Windmill 1969-72, Oil on board, 21 x 25 cm
Nebuchadnezzar Windmill 1969-70
Buy NOW price: $28,800

Click - Arthur Boyd, Lovers in the Creek, painted and glazed enamel on ceramic painting, 51 x 56 cm (framed 78 x 73 cm)
Lovers circa 1960-65
Buy NOW price:  email

Convert Currency   Buy Now  prices may change without a prior notice   email  or  phone +612 4465 1494

Click - Arthur Boyd, Othello Listening, Magic Flute, oil on canvas, 153 x 182 cm
 Othello Listening, Magic Flute
Buy NOW price:  email

Click - Arthur Boyd, Soldier on horse and Aborigine, Oil canvas, 183 x 175 cm
 Soldier on horse and Aborigine
B
uy NOW price:
  email

Click - Arthur Boyd, Shoalhaven Clouds, Oil on board, 31 x 21cm
Shoalhaven Clouds circa 1980-85
Buy NOW price: $28,800

Convert Currency   Buy Now  prices may change without a prior notice   email  or  phone +612 4465 1494

Click to Enlarge - Arthur Boyd, The Lost Bride 1955-57 oil on board
Arthur Boyd 'The Lost Bride' 1955-57
NFS

Click - Arthur Boyd, Bride Drinking from Shoalhaven River,1970-75, Oil on board, 30 x 20 cm, Cat. NO. AB-BR70-OB3020
B
ride Drinking from Shoalhaven River 1970-75  Buy NOW price:  email

Click - Arthur Boyd,  Bride and Serpent, Oil on canvas, 122 x 102 cm
Bride with Serpent 1995
Buy NOW price:  email

prices may change without a prior notice   email  or  phone +612 4465 1494                  Arthur Boyd Bride series 

Click - Sold $1,073,250 Christies, Arthur Boyd, Bridegroom waiting for Bride to Grow Up, Oil and tempera on board, 137 x 182 cm Click - Sold: $957,000 Sotheby's, Arthur Boyd, Dreaming bridegroom I (1958) Oil and tempera on canvas, 122 x 152.5 cm Click - SOLD $1,2 million, 2011 Sotheby's, Arthur Boyd,The Frightened Bridegroom (1958) oil and tempera on composition board, 61.7 x 63.5 cm
Click - Sold $833,000, Arthur Boyd, Mourning Bride I (1957) Oil and tempera on canvas, 122 x 152 cm - SOLD $900,000, Arthur Boyd, Death of a Husband 1958, Oil on board, 91.5 x 122.5 cm Click - SOLD $1,037,500, Arthur Boyd, Phantom Bride 1958, oil and tempera on board, 162.5 x 139.5 cm
Click - Sold $703,000, Arthur Boyd Bride Walking in A Creek I 1959, Oil and tempera on composition board, 105.5 x 136.5 cm Click - Sold $660,000, Arthur Boyd, Bridegroom, Rainbow, Waterhole 1960, Oil and tempera on board, 91.5 x 122 cm ClickSold $666,000, Arthur Boyd, The Hunter, Oil and tempera on composition board, 132 x 104 cm
Click - SOLD $360,000, Arthur Boyd, Bride in Moonlight Turning into Windmill 1960, Oil tempera on composition board, 91.5 x 122 cm Click - Sold $496,500, Arthur Boyd, Bride Drinking from A Pool 1960, Tempera on composition board, 129.5 x 152.5 cm Click - Sold $428,500, Arthur Boyd, Bride in a Cave with Rainbow, Oil and tempera on board, 90 x 121 cm
SOLD - Arthur Boyd, Three Ladies Magic Flute, Oil on canvas, 200 x 250 cm SOLD - Arthur Boyd, RED ROCK 1990 Magic Flute, Oil on canvas, 147 x 154.5 cm SOLD - Arthur Boyd,  Allegory and Myth - Magic Flute, Oil on canvas, 180 x 180 cm

SOLD -  Arthur Boyd, The Green Queen of the Night - Magic Flute, Oil on canvas, 200 x 250 cm

SOLD - Arthur Boyd, Black Pool and The Queen of the Night - Magic Flute, Oil on canvas, 250 x 200 cm

SOLD - Arthur Boyd, Pulpit Rock (Shoalhaven) Oil on canvas, 82 x 82 cm

SOLD - Arthur Boyd, Shoalhaven River and White Cockatoos, oil on copper, 38 x 30.5 cm                         SOLD - Arthur Boyd, Shoalhaven Waterfall Bather and The Elder, Oil on canvas                         SOLD - Arthur Boyd, Lady and The Green Serpent, Oil on canvas, 122 x 92 cm                        SOLD - Arthur Boyd, Shoalhaven River Bundanon, Oil on canvas, 30.5 x 21.5
Click - Best of Boyd in Galeria Aniela coup the front page of Sydney Morning Herald                  Click -  Arthur Boyd authorized Galeria Aniela to sell his original paintings, signed November 1995               Click - Historic Boyd exhibition in Galeria Aniela            SOLD - Arthur Boyd, Shoalhaven at Sunset II, oil on copper, 30.5 x  22.5 cm
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Arthur Boyd, wife Yvonne and Aniela at the opening of the Best of Boyd exhibition, 1997 CVlick - VIDEO: ABC TV Australian National News BOYD exhibition in Galeria Aniela Click - VIDEO: ABC TV Australian National Sunday Afternoon Arthur Boyd, David Boyd, Guy Boyd, Jamie Boyd, Lenore Boyd
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Arthur Boyd is one of the most important and the best loved Australian artists, a member of the Antipodeans that included Charles Blackman, David Boyd, John Perceval, Clifton Pugh, John Brack and Robert Dickerson

Click to Enlarge: Tate Gallery Collection London - Arthur Boyd, Bride Drinking from the Creek 1960, Oil on hardboard, 61 x 81 cm
Arthur Boyd Auction Results    Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email  
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under the freedom of information through an extensive research, we compiled relevant facts including the links to the original source whenever possible. We found that sometimes a painting is sold with a different description thus for that reason (via the mammoth research) we included the images. We hope that you enjoy the services - credits below

Picture

Sold for Description

Arthur Boyd, The Frightened Bridegroom 1958

$1,200,000

Arthur Boyd, The Frightened Bridegroom 1958, Oil and tempera on composition board, signed 'Arthur Boyd' lower right 61.7 x 63.5 cm Est: $1,000,000-1,200,000 Sotheby's Australia Important Australian & International Art Sydney Lot No. 14, 23/08/2011

Arthur Boyd, Bridegroom Waiting for His Bride to Grow Up

$1,057,500

 Bridegroom Waiting for His Bride to Grow Up, Oil on tempera on board, signed 'Arthur Boyd' lower right; titled 'Bridegroom waiting for his Bride to Grow Up' on exhibition label affixed to the reverse 137.2 x 182.9 cm Est: $600,000-900,000 Christies Australian & International Fine Art Melbourne Lot No. 28 , 27/11/2001

rthur Boyd, Phantom Bride 1958, sold for $1,037,500

$1,037,500

Arthur Boyd, Phantom Bride 1958, Oil and tempera on composition board, signed lower right Arthur Boyd 162.5 x 139.5cm Est: $700,000-900,000 Deutscher~Menzies Fine Art Auction Melbourne Lot No. 26, 01/05/2002

Arthur Boyd, Moby Dick Hill, Near Frankston, Victoria 1949

$960,000

Arthur Boyd, Moby Dick Hill, Near Frankston, Victoria 1949, Tempera and oil on composition board, signed lower right: Arthur Boyd, inscribed verso: Arthur Boyd/ 'Moby Dick Hill', 81.5 x 122 cm, Est: $750,000-950,000, Deutscher~Menzies, Australian and International Art Sydney, Lot No. 31, 10/12/2008

Arthur Boyd, The Dreaming Bridegoom

$954,000

Arthur Boyd, The Dreaming Bridegoom, Oil and tempera on canvas, signed lower left, 122 x 152.5 cm Est: $500,000-600,000, Sotheby's Australia, Fine Australian and International Paintings, Melbourne, 02/05/2000, Lot No. 36

Arthur Boyd, Death of a Husband 1958

$900,000

Arthur Boyd, Death of a Husband 1958, Oil on composition board, signed lower right: Arthur Boyd, 91.5 x 122.5 cm Est: $700,000-900,000, Deutscher~Menzies, Australian and International Art, Sydney,  Lot No. 27, 18/06/2008

Arthur Boyd, Moby Dick Hill, Near Frankston, Victoria 1949

$888,000

Arthur Boyd, Moby Dick Hill, Near Frankston, Victoria 1949, Tempera and oil on composition board, signed lower right, Arthur Boyd inscribed verso Arthur Boyd/ 'Moby Dick Hill', 81.5 x 122 cm Est: $800,000-1,000,000 Menzies, Australian & International Art, Sydney, Lot No. 32, 24/06/2010

Arthur Boyd, Mourning Bride I

$833,000

Arthur Boyd, Mourning Bride I, Oil on board, signed 'Arthur Boyd' lower left, 121 x 175 cm, Est: $600,000-800,000, Christies, Melbourne, Lot No. 79, 28/06/2000

Arthur Boyd, Bride Walking in a Creek I

$703,000

Arthur Boyd, Bride Walking in a Creek I, Oil and tempera on composition board signed lower right bears artist's name and title on label on the reverse 105.5 x 136.5 cm Est: $600,000-800,000 Sotheby's Australia Fine Australian Art Melbourne Lot No. 39,  19/09/2005

Arthur Boyd, The Hunter - Bride series

$666,000

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Arthur Boyd, The Hunter, (Bride series) Oil and tempera on composition board, signed lower right ,132 x 104cm Est: $400,000-600,000 Sotheby's Australia, Collection of Sir David Davies/Fine Aust. & Int. P, Melbourne Lot No. 20, 05/05/2003

Arthur Boyd, Bride and Bridegroom with Rainbow 1960

$660,000 Arthur Boyd, Bride and Bridegroom with Rainbow 1960, Oil and tempera on composition board, signed lower left: Arthur Boyd 91.5 x 122cm Est: $550,000-700,000 Deutscher~Menzies, Australian and International Art Sydney Lot No. 30,  18/03/2008

Arthur Boyd, Death of a Husband 1958

$660,000

Arthur Boyd, Death of a Husband, 1958, Oil on composition board, signed lower right: Arthur Boyd, 91.5 x 122.5 cm, Est: $550,000-700,000 Lawson~Menzies LM Fine Art Sydney Lot No. 325,  06/02/2007

Arthur Boyd, Man Ploughing a Field

$660,000

Arthur Boyd, Man Ploughing a Field, Oil and tempera on plywood, signed and dated 1948 lower right 59.7 x 77.7 cm Est: $350,000-450,000 Sotheby's Australia Important Australian Art Sydney Lot No. 26,  07/05/2007

Arthur Boyd, Bride and Bridegroom with Rainbow 1960

$600,000 Arthur Boyd, Bride and Bridegroom with Rainbow 1960, Oil and tempera on composition board, signed lower left: Arthur Boyd 91.5 x 122 cm, Est: $550,000-700,000 Deutscher~Menzies, Australian & International Fine Art, Sydney 24/06/2009 Lot No. 39

Arthur Boyd, Death of a Husband 1958

$600,000 Arthur Boyd, Death of a Husband, 1958, Oil on composition board, signed lower right: Arthur Boyd, 91.5 x 122.5 cm Est: $650,000-850,000 Menzies, Australian & International Fine Art, Sydney Lot No. 43,  24/03/2011

Arthur Boyd, Bride Drinking from a Pool 1960

$496,500

Arthur Boyd, Bride Drinking from a Pool 1960, Tempera on composition board, signed lower right: Arthur Boyd 129.5 x 152.5 cm Est: $460,000-500,000 Deutscher~Menzies 19th & 20th Century Fine Australian and International Art, Melbourne Lot No. 19,  09/05/2001

Arthur Boyd, Death of a Husband 1958

$472,625 Arthur Boyd, Death of a Husband 1958, Oil on composition board, signed lower right: Arthur Boyd, 91.5 x 122.5 cm Est: $400,000-600,000 Deutscher~Menzies Classics of Australian Art and 19th & 20th Century Fine Australian and International Art, Melbourne Lot No. 10,  21/08/2000

Arthur Boyd, Death of a Husband 1958

$447,250

Arthur Boyd, Death of a Husband 1958, Oil on composition board, signed lower right: Arthur Boyd 91.5 x 122.5 cm Est: $400,000-500,000 Deutscher-Menzies Australian & International Fine Art Melbourne Lot No. 42,  08/09/2004

 

$442,500 Arthur Boyd, Wimmera Landscape, Oil and tempera on board, incised 'Arthur Boyd' lower right, 72.4 x 95.2 cm Est: $180,000-250,000 Christies Melbourne Lot No. 48, 28/06/2000

Arthur Boyd, Bride in a Cave with Rainbow,

$428,500 Arthur Boyd, Bride in a Cave with Rainbow, Oil and tempera on composition board signed lower right 90 x 121 cm Est: $400,000-600,000 Sotheby's Australia Fine Australian & International Paintings, Sydney, Lot No. 44, 25/08/2002

Arthur Boyd, Abraham and the Angels

$398,500 Arthur Boyd, Abraham and the Angels, Oil on canvas signed lower left 90x120cm Est: $200,000-300,000 Sotheby's Australia, Fine Australian and European Paintings Sydney Lot No. 34, 16/08/1999

 

$387,500 Arthur Boyd, Bride Dreaming, Oil on board, signed 'Arthur Boyd' lower right, 90x122cm Est: $330,000-380,000, Christies, Sydney, Lot No. 176, 17/08/1999,

Arthur Boyd, Saul and David c. 1946

$378,000 Arthur Boyd, Saul and David c. 1946, Oil on canvas on composition board, inscribed verso: Saul and David/ By Arthur Boyd, 91.5 x 96.5 cm, Est: $200,000-240,000, Deutscher~Menzies, Australian & International Paintings, Sydney, Lot No. 40, 16/03/2005

Arthur Boyd, Bathers Shoalhaven Riverbank and Clouds

$376,000 Arthur Boyd, Bathers Shoalhaven Riverbank and Clouds, Oil on canvas, signed 'Arthur Boyd' lower right, 259 x 305 cm, Est: $120,000-180,000, Christies, Australian & International Paintings, Melbourne, Lot No. 39, 02/05/2002

Arthur Boyd, Bride in the Moonlight (Bride Turning Into a Windmill) 1960

$360,000 Arthur Boyd, Bride in the Moonlight (Bride Turning Into a Windmill) 1960, Oil and tempera on composition board, signed lower right, Arthur Boyd, 91.5 x 122 cm Est: $320,000-400,000 Menzies, Australian & International Fine Art, Sydney Lot No. 47, 25/03/2010

Berwick Landscape c. 1948

$342,500 Arthur Boyd, Berwick Landscape c. 1948, Oil on canvas on board, signed lower right: Arthur Boyd 60 x 80.5 cm Est: $240,000-280,000 Deutscher~Menzies, 19th & 20th Century Fine Australian and International Art Melbourne, Lot No. 84, 09/05/2001

Arthur Boyd, Shoalhaven River 1976

$336,000 Arthur Boyd, Shoalhaven River 1976, Oil on canvas, signed lower right: Arthur Boyd, 99x91cm Est: $140,000-180,000, Deutscher~Menzies, Australian and International Art Sydney Lot No. 21, 18/06/2008
  $330,000 Arthur Boyd, Jacob's Dream, Tempera on board, signed lower right 'Arthur Boyd' 107x127cm Est: $180,000-220,000 Christie, Melbourne Lot No. 57, 28/07/1992
  $313,500 Arthur Boyd, Melbourne Burning, 1946-47, Oil and tempera on canvas, signed lower right, 90.2x100.5 cm Sotheby's Australia, Fine Modern Australian Paintings and Drawings, Melbourne, Lot No. 20, 31/07/1985
  $293,750 Arthur Boyd, Shoalhaven Riverbank and Large Stones, Oil on canvas, signed 'Arthur Boyd' lower right; titled 'Shoalhaven Riverbank (with Black Swan)' on label affixed to the reverse 152.4x122 cm Est: $140,000-180,000, Christies, Australian & International Paintings Melbourne, Lot No. 23, 02/05/2002

Arthur Boyd, The Little Train, 1950

$288,000 Arthur Boyd, The Little Train, 1950, Oil and tempera on board, signed lower right; title inscribed verso Est: $280,000-320,000 Lawson~Menzies, Paintings Sydney Lot No. 531 , 02/05/2007
  $286,000 Arthur Boyd, Frightened Bridegroom, Oil and tempera on muslin on board, signed lower left 'Arthur Boyd' 137x183cm Christies Melbourne Lot No. 120, 28/04/1992

Arthur Boyd, Waterhole with Sheep

$277,500 Arthur Boyd, Waterhole with Sheep, Tempera on canvas, signed lower right, 87x122cm Sotheby's Australia Fine Australian and European Paintings Sydne, Lot No. 48, 16/08/1999

Arthur Boyd, Bride and Bridegroom with Rainbow 1960

$264,875 Arthur Boyd, Bridegroom at the Waterhole, Oil and tempera on composition board, signed lower left, 90.5x121cm Est: $200,000-300,000, Sotheby's Australia, Modern & Contemporary,Sydney, Lot No. 7, 21/03/2005
  $264,000 Arthur Boyd, The Drover 1948, Oil on board, signed lower right (indistinctly) 74x93cm Est: $180,000-200,000 Sotheby's Australia, Fine Australian Paintings, Melbourne, Lot No. 370, 24/07/1988

Arthur Boyd, Lovers in a Landscape (1963)

$264,000 Arthur Boyd, Lovers in a Landscape (1963), Oil and tempera on composition board, signed 'Arthur Boyd' lower right, 86.4x121.9cm Est: $150,000-200,000 Bonhams & Goodman, Australian, International & Aboriginal Art, Melbourne Lot No. 61, 23/04/2008,

Arthur Boyd, Eaglehawk Landscape, 61 x 79.5cm

$264,000 Arthur Boyd, Eaglehawk Landscape, Oil and tempera on composition board, signed lower right; inscribed with title on the reverse 61x79.5cm Est: $180,000-250,000 Sotheby's Australia, Important Australian Art, Sydney, Lot No. 38, 07/05/2007

Arthur Boyd, Riversdale Hill and Farmer (1983)

$264,000

Arthur Boyd, Riversdale Hill and Farmer (1983) Oil on canvas, signed 'Arthur Boyd' lower right, 183x175cm Est: $200,000-300,000 Bonhams & Goodman, Australian International & Aboriginal Fine Art, Melbourne Lot No. 98, 07/08/2007

  $256,000 Arthur Boyd, Wimmera Landscape Tempera on composition board, signed lower right, 91 x 121 cm, Est: $200,000-300,000, Sotheby's Australia, The John Fairfax Collection, Sydney, Lot No. 11 , 17/11/2002

Arthur Boyd, The Little Train, 1950

$250,000 Arthur Boyd, The Little Train, 1950 Oil on board, signed lower right, 72 x 140.5 cm, Est: $200,000-250,000, Sotheby's Australia, Fine Australian Paintings and Books, Sydney Lot No. 407 , 17/11/1988,

Arthur Boyd, Evening, Pulpit Rock, Shoalhaven

$240,000 Arthur Boyd, Evening, Pulpit Rock, Shoalhaven, Oil on linen, signed lower right: arthur Boyd, 122 x 152 cm, Est: $120,000-150,000, Deutscher and Hackett, Australian & International Fine Art, Melbourne, Lot No. 26 , 09/05/2007

Arthur Boyd, Landscape with Baler c. 1948-49

$240,000

Arthur Boyd, Landscape with Baler c. 1948-49, Oil on canvas on plywood, signed lower right: Arthur Boyd, 66 x 84 cm, Est: $140,000-180,000, Deutscher~Menzies, Fine Australian & International Art, Sydney, Lot No. 45 , 13/06/2007

Arthur Boyd, Lovers in the Trees (Bride series)

$233,000 Arthur Boyd, Lovers in the Trees (Bride Series), Oil and tempera on composition board, signed lower right, 120x150.5 cm Est: $250,000-350,000, Sotheby's Australia Fine Australian & International Paintings Melbourne, Lot No. 18, 30/04/2002
  $222,500 Arthur Boyd, Lovers by a CreekTempera and oil on board, signed 'Arthur Boyd' lower right, inscribed on the reverse of the frame 'Purchased for Mr. I. J. Lyons', 123.5 x 91.5 cm, Est: $200,000-250,000, Christies, Melbourne, 27/08/1997, Lot No. 66

Arthur Boyd, Bridegroom Drinking from a Creek II

$222,500

Arthur Boyd, Bridegroom Drinking from a Creek II, Oil and tempera on board, signed 'Arthur Boyd' lower right, 60.4 x 80.5cm Est: $100,000-150,000 Christies, Australian and European Paintings Drawings and Prints Part I Melbourne Lot No. 42, 26/11/1996

  $220,000 Arthur Boyd, The Seasons, c. 1944 Oil on canvas laid on board, signed lower right A. Boyd '44, Est: $100,000-150,000, Sotheby's Australia, Fine Australian Paintings including the Dr. John L. Raven Collection, Melbourne, Lot No. 466 , 17/04/1989

Arthur Boyd, Death of a Horse, 1981

$218,727 Arthur Boyd, Death of a Horse, 1981, Oil on canvas, signed and dated lower right Arthur Boyd 81, 183 x 175 cm, Est: $220,000-300,000, Menzies, Australian & International Fine Art, Sydney,, Lot No. 36  23/06/2011

 Arthur Boyd, On the Banks of The Shoalhaven

$215,100 Arthur Boyd, On the Banks of The Shoalhaven, Oil on canvas, signed 'Arthur Boyd' lower right, 151 x 120.2 cm, Est: $80,000-120,000, Christies, The Coles Myer Collection of Australian Art, Melbourne Lot No. 16 , 09/11/2004,

Arthur Boyd, Shoalhaven (1982)

$204,000

Arthur Boyd, Shoalhaven (1982), Oil on composition board, signed 'Arthur Boyd' lower right, Melbourne 91.5 x 122cm Est: $140,000-180,000 Bonhams & Goodman Australian International & Aboriginal Fine Art Melbourne Lot No. 97 , 07/08/2007

  $200,500 Arthur Boyd, Shoalhaven River Bank Oil on linen, signed 'Arthur Boyd' lower right, 244.7 x 198.5 cm, Est: $80,000-100,000, Christies, Melbourne, Lot No. 16 , 27/04/1999
  $200,500 Arthur Boyd, Hamilton's Crossing Baringhup 1957 Oil on composition board, signed lower left 'Arthur Boyd', 80 x 106.5 cm, Est: $220,000-260,000, Deutscher~Menzies, Australian & International Paintings, Sculpture and Works on Paper, Melbourne, Lot No. 98B , 24/11/1999

Arthur Boyd, Seated Nebuchadnezzar and Crying Lion

$199,750

Arthur Boyd, Seated Nebuchadnezzar and Crying Lion, Oil on canvas, signed 'Arthur Boyd' lower right; titled 'Nebuchadnezzar and Crying Lion' on gallery label affixed to the reverse, 172 x 180.5 cm, Est: $120,000-150,000, Christies, Australian & International Paintings, Melbourne, Lot No. 55 , 25/11/2002

Arthur Boyd, Shoalhaven

$198,000 Arthur Boyd, Shoalhaven,  Oil on canvas, signed lower left: Arthur Boyd, inscribed verso: studio assistant/ Evelyn Young, 180 x 300 cm, Est: $180,000-220,000, Lawson~Menzies, Modern, Contemporary Australian and Important Abor, Sydney, Lot No. 248 , 25/09/2008

Arthur Boyd, Wimmera Landscape with Cockatoos

$192,000 Arthur Boyd, Wimmera Landscape with Cockatoos, Oil and tempera on board, signed lower left, 84.5 x 121 cm, Est: $90,000-120,000, Sotheby's Australia, Important Australian Art, Sydney, Lot No. 23 , 22/04/2008

 Arthur Boyd, Black Cockatoo with Moon (1985)

$192,000 Arthur Boyd, Black Cockatoo with Moon (1985), Oil on canvas, signed 'Arthur Boyd' lower right 182.5x175.2cm Est: $160,000-200,000 Sotheby's Australia Australian & International Fine Art Sydney Lot No. 57, 23/11/2010

 Arthur Boyd, Shoalhaven Country (1978)

$188,400 Arthur Boyd, Shoalhaven Country (1978), Oil on composition board, signed 'Arthur Boyd' lower right 122x91.5cm Est: $140,000-180,000 Bonhams & Goodman Australian International & Aboriginal Fine Art, Melbourne, Lot No. 64, 26/08/2008

 Arthur Boyd, Bride at a Waterfall

$186,000 Arthur Boyd, Bride at a Waterfall, Oil on canvas, signed lower right, incribed with alternate title 'The Bride at the Waterfall' on the reverse 107.5x112cm Est: $120,000-180,000 Sotheby's Australia Important Australian Art Sydney Lot No. 43 , 07/05/2007

Arthur Boyd, Landscape with Baler c. 1948-49

186,000 Arthur Boyd, Landscape with Baler c. 1948-49, Oil on canvas on plywood, signed lower right: Arthur Boyd, 66 x 84 cm, Est: $140,000-180,000, Deutscher~Menzies, Australian and International Art, Sydney, 15/03/2006, Lot No. 16

 Arthur Boyd, Black Swan and Reflected Rocks, Shoalhaven

$180,000 Arthur Boyd, Black Swan and Reflected Rocks, Shoalhaven, Oil on composition board, signed lower right: Arthur Boyd, 122 x 91 cm, Est: $80,000-120,000, Deutscher and Hackett, Australian & International Fine Art, Melbourne, Lot No. 5 , 09/05/2007

Arthur Boyd, Wimmera Landscape C1950

$180,000 Arthur Boyd, Wimmera Landscape C1950 , Oil on composition board, signed lower right, Arthur Boyd, 86 x 119.5 cm, Est: $160,000-200,000, Menzies, Australian & International Fine Art, Sydney, Lot No. 43 , 25/03/2010

 Arthur Boyd, Clay and Rockface at Bundanon

$179,250

Arthur Boyd, Clay and Rockface at Bundanon, Oil on canvas, signed 'Arthur Boyd' lower right, 90 x 60 cm, Est: $130,000-150,000, Christies, Australian, International & Contemporary Art, Melbourne, Lot No. 12 , 10/04/2006

 Arthur Boyd, High Noon Shoalhaven

$179,239

Arthur Boyd, High Noon Shoalhaven, Oil on canvas, signed lower right, 90x120cm Est: $100,000-140,000, Joel Fine Art, Australian & International Art, Melbourne, Lot No. 10, 14/08/2007

Arthur Boyd, Reflected Tree (1976)

£109,250 (A$179,094)

Arthur Boyd, Reflected Tree (1976), Oil on canvas, signed 'Arthur Boyd' lower right, 152.3 x 122 cm Est: GBP70,000-100,000 Christies, Modern + Contemporary Australian Art, London, Lot No. 35 , 23/09/2010

 Arthur Boyd, Shoalhaven Landscape - Australian Scapegoat

$175,500 Arthur Boyd, Shoalhaven Landscape - Australian Scapegoat, Oil on canvas, signed lower right; inscribed with title on the reverse, 242 x 195 cm, Est: $150,000-200,000, Sotheby's Australia, Fine Australian & International Paintings, Sydney, Lot No. 104 , 26/08/2003

Arthur Boyd, Burning Tree Stumps

$175,500

Arthur Boyd, Burning Tree Stumps, Oil and tempera on composition board, signed lower right, 75 x 90 cm, Est: $150,000-180,000, Sotheby's Australia, Fine Australian & International Paintings, Sydney, Lot No. 153 , 26/08/2003

 Arthur Boyd, The Lost Hunter 1966 (Bride series)

$175,000 Arthur Boyd, The Lost Hunter 1966 (Bride series), Oil on canvas, signed lower right: Arthur Boyd, 109 x 114.5cm Est: $160,000-200,000 Deutscher~Menzies 19th & 20th Century Fine Australian and International Art, Melbourne, Lot No. 22 , 09/05/2001

Arthur Boyd, Wimmera Landscape

$168,000 Arthur Boyd, Wimmera Landscape, Oil and tempera on board, signed lower right, 84.5 x 120 cm, Est: $140,000-160,000, Sotheby's Australia, Important Australian Art, Melbourne, Lot No. 29 , 27/08/2007

Arthur Boyd, Death of a Husband 1958

$167,500 Arthur Boyd, Death of a Husband 1958 Oil on composition board, signed lower right, 91 x 121.5 cm, Est: $160,000-200,000, Sotheby's Australia, Melbourne, Lot No. 160, 19/08/1996
  $167,500 Arthur Boyd, Landscape with Waterhole and Herons, Near Alice Springs, Oil on composition board, signed lower right, 91 x 112cm Est: $150,000-180,000 Sotheby's Australia Fine Australian and European Paintings Melbourne Lot No. 106, 24/11/1998

Arthur Boyd, The Hunter - Bride series

$167,500

Arthur Boyd, The Hunter (c. 1957), oil and tempera on composition board, signed lower right, 132 x 104 cm Est: $80,000-100,000, Sotheby's Australia Fine Australian Paintings Melbourne Lot No. 44, 30/04/1995

Arthur Boyd, Forest with Boulders (1976)

$166,220(£73,500)

Oil on copper 30 x 21 cm

Arthur Boyd, Forest with Boulders (1976), Oil on copper, signed 'Arthur Boyd' lower right, 30.5x21.5cm Est: GBP15,000-20,000 Christies Modern+Contemporary Australian Art London Lot No. 51, 16/12/2008

 

$165,250

Arthur Boyd, Waterhole with Black Crows c. 1973-74 Oil on canvas, signed lower right: Arthur Boyd, 113.5 x 109 cm, Est: $100,000-140,000, Deutscher~Menzies, Australian & International Fine Art, Melbourne, Lot No. 57 , 08/09/2004

  $165,000

Arthur Boyd, The Hunter III (The Lost Hunter), 1944 Oil on canvas, signed and inscribed verso 77x106cm Est: $150,000-200,000, Christies, Melbourne, Lot No. 287, 14/04/1986

  $164,500

Arthur Boyd, Hillside Oil on canvas, signed 'Arthur Boyd' lower right, 98x90.6cm Est: $70,000-90,000 Christies, BHP Billiton Collection of Australian Art, Sydney, Lot No. 584, 27/08/2003

Arthur Boyd, Shoalhaven Riverbank with Black Swan and Cockatoo $164,000

Arthur Boyd, Shoalhaven Riverbank with Black Swan and Cockatoo, Oil on canvas, signed lower right, 153 x 122cm Est: $60,000-90,000 Sotheby's Australia, Collection of Sir David Davies/Fine Aust. & Int. P, Melbourne, Lot No. 32 , 05/05/2003

Arthur Boyd, Shoalhaven River and Bride Drinking $162,000

Arthur Boyd, Shoalhaven River and Bride Drinking, Oil on canvas, signed lower right: Arthur Boyd, 122 x 91.5cm Est: $140,000-160,000 Deutscher~Menzies Australian and International Art Sydney Lot No. 25, 24/09/2008

Arthur Boyd, In the Grampians $159,125

Arthur Boyd, In the Grampians , Oil on canvas, signed lower right, 64.5x84.5cm Est: $150,000-250,000 Sotheby's Australia The Foster's Collection of Australian Art Melbourne Lot No. 44 , 23/05/2005

Arthur Boyd, Hunter, circa 1968 $158,727 Arthur Boyd, Hunter, circa 1968, Oil on canvas, signed lower right: Arthur Boyd, 109 x 114 cm, Est: $90,000-120,000, Menzies, Australian & International Fine Art, Melbourne, 14/09/2011, Lot No. 51
  $158,250 Arthur Boyd, Eaglehawk Landscape Tempera on composition board, signed lower right; inscribed with title on label on the reverse 61x79.5cm Est: $150,000-250,000 Sotheby's Australia, Art from the Kerry Stokes Collection, Sydney, Lot No. 514, 26/08/2002
Arthur Boyd, Lovers with a Blue Bird $158,250

Arthur Boyd, Lovers with a Blue Bird , Oil on composition board, signed lower right, 160 x 183 cm Est: $150,000-200,000 Sotheby's Australia, Collection of Sir David Davies/Fine Aust. & Int. P, Melbourne Lot No. 28 , 05/05/2003

  $156,500

Arthur Boyd, The Old Mine (c. 1951) Oil and tempera on composition board, signed lower right, 91x121cm Est: $140,000-180,000 Sotheby's Australia Fine Australian Paintings Melbourne Lot No. 118, 30/04/1995

  $156,500

Arthur Boyd, Bride Drinking from a Pool, Tempera on composition board, signed lower right 'Arthur Boyd', titled and dated on exhibition labels on the reverse, 129.5x152.5cm Est: $60,000-80,000 Christies Melbourne Lot No. 14, 04/04/1995

Arthur Boyd, Shoalhaven Trees $156,000

Arthur Boyd, Shoalhaven Trees Oil on canvas, signed lower right, 180x425cm Est: $140,000-180,000 Sotheby's Australia, Important Australian Art, Sydney, Lot No. 74, 22/04/2008

Arthur Boyd, River with Black Swan and Cockatoo $156,000

Arthur Boyd, River with Black Swan and Cockatoo ,Oil on composition board, signed lower right: Arthur Boyd, inscribed verso: River With Black Swan and Cockatoos, 122 x 91cm Est: $90,000-110,000 Lawson~Menzies, Modern, Contemporary Australian and Important Abor Sydney Lot No. 235, 19/03/2008

Arthur Boyd, Boat on the Shoalhaven, c. 1981 $156,000 Arthur Boyd, Boat on the Shoalhaven, c. 1981, Oil on composition board, signed lower right: Arthur Boyd 91x 60.5cm Est: $65,000-85,000 Deutscher and Hackett, Australian & International Fine Art, Melbourne, Lot No. 53, 09/05/2007
$156,000 Arthur Boyd, Shoalhaven Riverbank and Yacht (1984-1985) Oil on canvas, signed 'Arthur Boyd' lower right, 183.5 x 161cm Est: $120,000-160,000 Bonhams & Goodman Fine Art, Melbourne, Lot No. 69, 25/08/2009
Arthur Boyd, Timbered Rock Face $156,000

Oil on copper 31 x 24 cm

Arthur Boyd, Timbered Rock Face (1974-1976) Oil on copper, signed ‘Arthur Boyd' lower right, 30.7x24.3cm Est: $60,000-80,000 Sotheby's Australia, Australian & International Fine Art Sydney Lot No. 10A , 23/11/2010

$156,000

Arthur Boyd, Fallen Nebuchadnezzar on Fire, c. 1966-68 Oil on canvas, signed lower right: Arthur Boyd, 174 x 182.5cm Est: $100,000-140,000 Deutscher and Hackett, Australian & International Fine Art, Melbourne Lot No. 34 , 09/05/2007,

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Click to enlarge - Arthur Boyd, Persecuted Lovers, Art Gallery of SA collection                   Click to enlarge                    Australian National Gallery of Victoria collection
Arthur Boyd (1920-1999)
                      Arthur Boyd (1920-1999)                    Arthur-Boyd (1920-1999)
      Persecuted Lovers 1955-8
              Shearers playing for a bride,1957         Bride Nude with beast III, 1962
Oil on Composition board
                 oil and tempera on canvas                  oil on composition board
                   137.2 x 182.9cm
                                
150.1 x 175.7 cm                  Australian National Gallery of Victoria  
Art Gallery of South Australia
            National Gallery of Victoria                                                           

Credits:   Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email  

We express gratitude to all Australian National galleries, Australian and International press, Google and Auction houses, without them our extensive research would not be available (compiling facts that have found relevant and useful including the links to the original source whenever possible). We hope you will enjoy the services.

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Nebuchadnezzar by A Windmill 1969-72

Arthur-Boyd (1920-1999)

Oil on board
21 x 25 cm
Signed lower right: Arthur Boyd

Arthur Boyd well known Nebuchadnezzar series of works, started in 1966, a series was a statement of the human condition and is often considered to be his most powerful.

Buy  NOW  price: $27,500

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Nebuchadnezzar on Fire, fallen in a field 1969-70

 Arthur Boyd (1920-1999)

oil on canvas
Image size: 21 x 25.5 cm
Framed size: 56 x 60 cm
Signed lower right: Arthur Boyd
Provenance:
Boyd family
NOTES

Buy  NOW  price: $34,500
include extremely rare 1st edition book 5 of 30. The scarce book is in pristine condition bound in the original  leather
.

Arthur Boyd well known Nebuchadnezzar series of works, started in 1966, a series was a statement of the human condition and is often considered to be his most powerful.

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Front cover Nebuchadnezzar Book 5/30  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email  

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For a first edition to have value, must be published in small quantities. The book was published 1970  is extremely scarce, the first edition was limited to small quantities of 30. The book is bound in white leather, signed by Arthur Boyd and include all Nebuchadnezzar paintings. The book is in pristine condition and looks like it just left the printing press. The book is in the original, specially made box covered in black cotton measures 25cm x 30cm x 9.5cm depth.

in pristine condition - the book 5/30 is bound in white leather, published 1970, extremely scarce, the first edition was limited to small quantities of 30.
     Front page signed by Arthur Boyd, the book 5/30 include all Nebuchadnezzar paintings
   

Arthur Boyd's Nebuchadnezzar Series Education Resource Bundanon PDF
Tate Collection | Nebuchadnezzar by Arthur Boyd
Nebuchadnezzar VIDEO; Condition Report

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Nebuchadnezzar on Fire, fallen in a field CONDITION REPORT  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email


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Excellent, original oil on canvas circa 1969 in pristine condition. The work appears to be in very good and stable condition. This work is framed in a gold timber contemporary frame with a white wide timber mount and a narrow timber gold mount. The work is clean unspoiled there is no cracking on the surface. No scuffs or scratches to the surface. The work is otherwise in good condition. On the reverse the canvas holds a small paper label printed “Arthur Tooth & Son” with a hand-written (signature-like) scribbled inscription. Overall very good original condition. The work includes an original, especially leather bound limited edition book. The book was published by Thames and Hudson with the all Nebuchadnezzar 30 paintings all in colour. The book is numbered number 5 and signed by Arthur Boyd as well as the publisher. The book contains the original box made of cardboard covered in black cotton. The whole box measures 25 cm by 30 cm by 9.5 cm depth. Due to the age the box may require of some cleaning and minor repair.

Notwithstanding this report or any discussions concerning this work, the work is offered for sale as it is. In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. We recommend that prospective buyers should inspect the work to satisfy yourselves as to condition and must understand that any statement made by Galeria Aniela is merely a subjective, qualified opinion.

Artist:     ARTHUR BOYD (1920-1999)  
Title:      
Nebuchadnezzar
on Fire, fallen in a field circa 1968
Medium: 
oil on canvas
Image Size:
20.2 by 25.5 cm
Signed
lower right, bears artist's name

The work includes an original, especially leather bound limited edition book. The book was published by Thames and Hudson with the all Nebuchadnezzar 30 paintings all in colour. The book is numbered, number 5 and signed by Arthur Boyd as well as the publisher. The book contains the original box made of cardboard covered in black cotton. The whole box measures 25 cm by 30 cm by 9.5 cm depth.

Impeccable provenance, Boyd family Private collection London since the 60’s.

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Arthur Boyd, Soldier on horse and Aborigine, oil on canvas, 183 x 175 cmSoldier on horse and Aborigine

Arthur Boyd (1920-1999)

Oil canvas
183 x 175 cm

Signed lower right: "Arthur Boyd"

Exhibited:
Fisher Fine Art Gallery, London
Art Gallery NSW, Sydney
2012 Galeria Aniela Fine Art Galley, NSW

Provenance:
The
Boyd family private collection

NOTES


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NOTES about the meaning of Arthur Boyd art

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The most sustaining works of art convey human interaction, exchange of ideas and fragments of messages. They are most noticeable in the picture. Technical skills and even beauty of colour and form are subsidiary to the main purpose of painting. That purpose is to reveal and enrich a condition of human nature. The most illuminating condition is passion, empathy and love for the human kind, and the awakening of the understanding and compassion for the individual, therefore the work of art which has the most significance is that in which this theme is implicit. An that is the meaning of Arthur Boyd art.

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Arthur Boyd, Othello Listening, Magic Flute, oil on canvas, 153 x 182 cmOthello Listening, Magic Flute

Arthur Boyd (1920-1999)

oil on canvas
153 x 182 cm
Signed lower right: "Arthur Boyd"

Exhibited:
11 May 1991 to 9 June 1991 Pyramid Gallery, New York, USA;
11 - 22 Sep 1991 - Sydney Opera House; Wagner Gallery, Paddington; Fisher Fine Art Gallery, London; Regional Galleries Trust, NSW; Art Gallery NSW, Sydney;
2012 Galeria Aniela Fine Art Galley, NSW

NOTES

Provenance: Boyd family private collection

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Shoalhaven River Escarpment circa 1975

Arthur Boyd (1920-1999) circa 1975

 
oil on board

 36 x  29 cm

Signed: "Arthur Boyd" lower right

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During the mid to late 1970's Arthur Boyd exhibited small oils at Australian Galleries, Melbourne (1976) and at Fischer Fine Art London (1977). Now, these exquisitely painted oils are the most valuable rare gems, and keenly sought after works in Australian art. Recent sales include:
Blackbirds Over Shoalhaven 1985 oil on board,
35 x 28 cm
Joel Fine Art 
sold for $59,090

Shoalhaven oil on board, 61 x 45.6 cm Sotheby's Australia sold for $121,200
Shoalhaven River with Figure and Boat, oil on board, 59.5 x 44.5 cm
Menzies 2002 sold for $82,250

 

 
Shoalhaven Riverbank  circa 1975

Arthur Boyd (1920-1999)

oil on copper

 Image size: 62 x  45 cm

During the 1970's Arthur Boyd exhibited oils on copper at Australian Galleries, Melbourne (1976) and at Fischer Fine Art London (1977). Now, these rare , exquisitely painted oils are the most valuable gems, keenly sought after. Recent sales oil on copper see below.

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Oil on Copper Sales  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email 

During the 1970's Arthur Boyd exhibited oils on copper at Australian Galleries, Melbourne (1976) and at Fischer Fine Art London (1977. Now, these rare , exquisitely painted oils are the most valuable gems, keenly sought after.  The recent sales of oils on copper paintings include:

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RETURN Shoalhaven at Sunset

 

Shoalhaven at Sunset circa 1976

Arthur Boyd (1920-1999)

oil on copper

Image size: 62 x  45 cm

Signed lower right: ARTHUR BOYD

Arthur Boyd 90th Birthday -  Google Logo Boyd-inspired "Shoalhaven at Sunset" , 24 July 2010Google inspired by Arthur Boyd "Shoalhaven at Sunset" 24 July 2010  changed their company Logo.


During the 1970's Arthur Boyd exhibited
oils on copper at Australian Galleries, Melbourne (1976) and at Fischer Fine Art London (1977). Now, these rare , exquisitely painted oils are the most valuable gems, keenly sought after. Recent sales Click HERE

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NOTES  RE: Boyd Shoalhaven - Pink    Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email  

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RETURN Shoalhaven at Sunset

To mark the 90th anniversary of Boyd birth, Google honoured the Australian artist with a Boyd-inspired reworking of its logo on the search engine's Australian home page. The Google - rework of the company's logo to mark significant events and people around the world was inspired by Shoalhaven at Sunset, a work from Boyd's famous Shoalhaven series.  Michael Lopez, the Google designer who created the logo, says he pored over Boyd's work searching for inspiration before being struck by the unique brushstrokes and colours of the Shoalhaven works. He was particularly taken, he says, by its pinks, reds, teals and earthy tones. ''The Shoalhaven series embodies that particular style,'' says Lopez. I tried to copy it brushstroke for brushstroke.'' The California-based Lopez' previous doodles include logos to mark the births of American painters Mary Cassatt (1844-1926) and Norman Rockwell (1894-1978). He did not know Boyd's work before he started the project but is now a fan.

Arthur Boyd 90th Birthday -  Google Logo Boyd-inspired "Shoalhaven at Sunset" , 24 July 201024 July 2010 Google search engine Logo (left) was inspired by Arthur Boyd "Shoalhaven at Sunset" from Galeria Aniela, the world's local fine art gallery. 

Arthur Boyd joined club that includes Leonardo da Vinci, Vincent Van Gogh, Andy Warhol, Norman Rockwell (the Google Doodle club.  CLICK to read the whole article online, The Age 24 July 2010

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Forest with Boulders 1976

Arthur Boyd (1920-1999)

Oil on copper

30.5 x 21.5 cm 

16 Dec 2008 Christies London Lot No. 51
Estimate: GBP15,000-20,000

SOLD A$166,220 (£73,500)

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 SOLD $114,115 - oil on copper, 30.9 x 21.6cmForest (1976)

Arthur Boyd (1920-1999)

Oil on copper

30.9 x 21.6 cm

16 Dec 2008 Christies London Lot No. 52
Estimate: GBP10,000-15,000

SOLD $114,115  (£ 50,460)

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REMEMBERED ROCK FACE (1974-1976)
Arthur Boyd (1920-1999)
oil on copper signed ‘Arthur Boyd' lower right
30.7 X 24.3 cm
23 November 2010
Sotheby's Lot No. 10A
Estimate: $60,000-$80,000
SOLD $156,000

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Shoalhaven - Broken Cliff Face

Arthur Boyd (1920-1999)

Oil on copper signed 'Arthur Boyd' lower right

63.5 x 50.8 cm
Est: GBP60,000-80,000

Christies London 11/10/2011 Lot No. 33A

SOLD  A$144,120 (£91,250)

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PINK SKY AND RIVERBANK (1974-1976)

Arthur Boyd (1920-1999)

oil on copper

31 x 21.5 cm

2011, 17 May  Sotheby's Lot 1

Estimate: $60,000-$80,000

SOLD:  $78,000

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Oil on Copper paintings  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email  

Painting on copper assures the artwork archival permanence and eternalness. The technique is rare and encounter immeasurable challenges. Paintings on copper are the most durable, and more valuable than paintings on canvas and board.

Paintings on copper are the most important for the artwork resilience, stability and permanence.  Due to rarity and the true complexity of the technique, paintings on copper are very valuable and highly-priced than paintings on canvas and board.

On the smooth slippery, glass-like surface of the copper plate only a Master artist can handle the real issues like: the flexing of the metal surface, an unwavering brush, humidity and drying coats of oil paint. However, painting Oil on copper allows an artist to pay great attention to the individual and subtle details of the artwork entity. Although lengthy and time consuming, it permits the clarity and the fine precision which oil on canvas is unable to allow.

In the 1700's artists were painting oil on copper in small size. Due to technical hitches of the method much of artists understanding of the technique has been lost. Though some great Masters like Arthur Boyd (1920-1999) persisted creating on copper to guarantee the archival permanence for his works of art for centuries to come. The copper plate was a perfect surface for Arthur Boyd to tackle the mood of the famous Shoalhaven landscape.

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Shoalhaven

Arthur Boyd (1920-1999)

Oil on composition board

61 x 45.6 cm

 31 August 2010 Sotheby's Australia Lot No. 6
Estimate: $40,000-60,000

SOLD $121,200

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Blackbirds Over Shoalhaven Riverbank c.1985

Arthur Boyd (1920-1999)

Oil on board

35 x 28 cm

14 August 2007 Joel Fine Art Lot No. 44
Estimate: $45,000-65,000

SOLD $59,090

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Shoalhaven River with Figure and Boat

Arthur Boyd (1920-1999)

Oil on canvas on board

59.5 x 44.5 cm

28 August 2002 Deutscher~Menzies Lot No. 3
Estimate: $50,000-60,000

SOLD $82,250

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Wetland - Shoalhaven River  circa 1975

Arthur Boyd (1920-1999)

 
oil on board

 30.6 x  20.9 cm

Signed lower right: "Arthur Boyd"

During the 1970's Arthur Boyd exhibited a number of small oils at Australian Galleries, Melbourne (1976) and at Fischer Fine Art London (1977). Now, these exquisitely painted oils are the most valuable rare gems, and keenly sought after works in Australian art.

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Shoalhaven River, Three White Cockatoos

Arthur Boyd (1920-1999)

Signed Lower right: ARTHUR BOYD

oil on board

 38 x 30.8 cm

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Shoalhaven River, Black Swan, Two White Cockatoos

Arthur Boyd (1920-1999)

Signed Lower right: ARTHUR BOYD

oil on board

38 x 30.8 cm

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Shoalhaven River Black Swan, Three White Cockatoos

Arthur Boyd (1920-1999)

Signed Lower right: ARTHUR BOYD

oil on board

 38 x 30.8 cm

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Shoalhaven River with Black Swan

Arthur Boyd (1920-1999)

Signed Lower right: ARTHUR BOYD

oil on board

38 x 30.8 cm

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The Shoalhaven River  with Clouds

Arthur Boyd (1920-1999)

oil on board

Signed Lower right: ARTHUR BOYD

Image size: 31 x 21 cm

Framed size: 65.5 x 56 cm

The Shoalhaven River was the constant source of inspiration for Arthur Boyd's work. He had a strong relationship between the landscape and the Shoalhaven River. The paintings that Boyd has done on the riverbank location were small, the large works he painted in his studio. In 1993, Arthur Boyd gave his Bundanon estate on Shoalhaven River in NSW to the nation for the benefit of many.

Buy  NOW   price: $29,950

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Arthur Boyd (1920-1999), Lovers in the Creek circa 1960-63, glazed enamel on ceramic, 51 x 56 cmLovers in the Creek circa 1960-63
Cat. No.
AB-CE-1

Arthur Boyd (1920-1999)

ceramic painting painted and glazed enamel

Signed: "Arthur Boyd" lower right

Image Size: 51 x 56 cm
Framed Size: 78 x 73 cm

Provenance:
The
Boyd family private collection

NOTES

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Bridegroom Drinking at Pool circa 1960-65

Arthur Boyd (1920-1999)

ceramic painting painted and glazed enamel

Signed: "Arthur Boyd" lower right

Image Size: 53 x 56 cm

Provenance:
private collector London

NOTES

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Nude Unveiled
Cat. No. AB-NUDE-CO

Arthur Boyd (1920-1999)

Oil
and collage on paper board
Signed Lower right: ARTHUR BOYD

Image size:
55.5 x 65.5cm
Framed size: 95 x 105 cm

Buy  NOW   Price: $22,450

NOTES

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Bride Drinking from Shoalhaven River

Arthur Boyd (1920-1999)

B
ride with Necklace, drinking from Shoalhaven River circa 1970-75 Cat.No.AB-BR70-OB3020

Oil on board Signed lower right: Arthur Boyd

Image size: 30.6 x 20.8 cm

Framed Size: 65 x 56 cm

NOTES on 'Bride with Necklace, drinking from Shoalhaven River'

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NOTES 'Bride with Necklace, drinking from Shoalhaven River' circa 1970-75  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

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

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. Necklace believed to hold the power to bring great happiness. The necklace resembles new life, growth, a fresh start and new beginnings. But also, more spiritually,
'a Necklace' stands for; nurturing, tranquillity, purity, personal growth, awakening and positive change. Historically a necklace has cultural significance as well as huge spiritual, the function is to commemorate ancestors and honour mythological beings and their stories.

The painting ’Bride with Necklace drinking from Shoalhaven River’ is characteristically Arthur Boyd with attention to details and superb tone of colour and texture, is one of Boyd's most beautiful small Brides paintings that belongs to 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.

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Arthur Boyd (1920-1999) Bride and Groom Near a Creek circa 1960, National Gallery of Victoria CollectionBride and Groom by a Creek circa 1960, NGV

Arthur BOYD (1920-1999)

Oil on Composition board

1
06.6 x 137.1 cm

National Gallery of Victoria Collection
Credit Line: The Joseph Brown Collection. Presented through the NGV Foundation by Dr Joseph Brown AO OBE, Honorary Life Benefactor, 2004

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Arthur Boyd (1920-1999) Bride Drinking from the Creek circa 1960, Tate, LondonBride Drinking from a Creek 1960   

Arthur Boyd (1920-1999)

Oil on hardboard
61 x 81.2 cm

Tate Gallery London T13190 Bequeathed by Ann Forsdyke through the Art Fund 2010 © The estate of Arthur Boyd. Tate London acquired Boyd first Bride at £250,000 |London Telegraph

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Bride Drinking from a Pool 1960

Arthur Boyd (1920-1999)

Tempera on composition board

 129.5 x 152.5 cm

2001 May 09, Deutscher-Menzies Lot 19 

SOLD:
$496,500

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Bride in the Moonlight Turning into A Windmill, 1960

Arthur Boyd (1920-1999)
 

Oil and tempera on composition board
91.5 x 122 cm

 2010 Menzies Lot 47
Estimate: $320,000-$400,000

SOLD: $360,000

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 Bride and Serpent 1995

 Arthur Boyd (1920-1999)

 Oil on canvas

122.5 x 102.5 cm

Signed lower right: ARTHUR BOYD

NOTES

NOTES about Bride and Serpent

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NOTES Bride and the Serpent  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

Bride and Serpent Illustrated:

Exhibited:

Arthur Boyd's hauntingly beautiful 'Bride' paintings  are very rare and they are among his finest, firm of figure and powerful of imagery. The presence of the 'Bride' series paintings are rarely seen in private collections but rather in major public collections like Tate Gallery London, National Gallery of Victoria, National Gallery of Australia and Art Gallery of South Australia confirming the stature of Arthur Boyd legacy in Australian and international art.

Love, Marriage and Death of a Half-Caste, as the series was called collectively, touches on the epic and the heroic, an Antipodean tragedy of the proportions of Romeo and Juliet. In  Boyd 'Bride' series, his technique ...... became more painterly and figures integrated with their bush land settings. The figures metamorphosed into dragonflies or windmills as themes of thwarted love, of Eros; and references to classical mythology emerged in the highly personalised, often erotic, symbolism, influenced by Renaissance masters and the vigor of contemporary expressionism. Arthur Boyd paintings took on a greater thickness through the developed skill of his handling.

Certainly Arthur Boyd paintings from the Bride series are part of the iconography for much of his rich ..output"  Courtesy: Peter Fish The Money-Business Sydney Morning Herald, 1 October 2005. In Bride series at a Waterfall the plunging figure in white becomes the waterfall at which she drinks below, the fire consuming passion of her lover emerging from the primal forest, figured partly in elements of face and hand reaching to touch the downward rush. Figures emerge and submerge in the bush-land of a highly idiosyncratic work, of multiple meaning and quenching thirst, redolent with the energy of drama. Curtsey: Sotheby's catalogue, 23 April 2007. The bride series same as the Nebuchadnezzar (sometimes on fire) , and other themes series continued into years.

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The Lost Bride hurrying to Aboriginal Bridegroom 1955-57

Arthur Boyd 1920-1999

oil and tempera on composition board
51.9 x  80.5 cm

NFS

Sotheby's
fetch $1,2 million for Boyd's The Frighten Bridegroom Lot No. 14  23 August 2011

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The Frightened Bride-Groom 1958

Arthur Boyd 1920-1999

oil and tempera on composition board
61.7 x  63.5 cm

23 August 2011 Sotheby's Lot No. 14
Estimate: $1,000,000 - $1,200,000


SOLD:
$
1,200,000

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Arthur Boyd, Phantom Bride 1958, sold for $1,037,500Phantom Bride 1958

Arthur Boyd (1020-1999)

Oil and tempera on composition board
162.5 x 139.5cm

01 May 2002  Deutscher~Menzies Lot No. 26
Estimate: $700,000-900,000

SOLD $1,037,500

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Bridegroom waiting for Bride to Grow Up, 1958

Arthur Boyd (1920-1999)

Oil and tempera on board
137.2 x 182.9 cm
2001, November 27 Christies Melbourne  Lot 28
Estimate: $600,000 - $900,000   

SOLD: $1,073,250  

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Boyd's Bride series has rightfully earned a canonical place in Australian art history, due to its powerful picotrialisation of issues of social justice, rendered in a poetic style that blends figuration with an abstracted surrealism. It has been suggested that 'The Bride series constitutes, together with Nolan's two series on Burke and Wils and Ned Kelly, the most powerful visual images to emerge from Australian painting in this century. ' (U Hoff, The Art of Arthur Boyd, London, 1986, p. 22. ) The original title of the series was 'Love, Marriage and Death of a Half-Caste', a title that was deliberately ambiguous. Rather than presenting a simplistic symbolism of a longed for union between white and black Australia, Boyd avoided a reductive simplification of the racial issues by making both the bride and bridegroom half-caste. The complexity of the narrative relations was deepened by the doubling of the bride figure in the form of an impossible phantom bride, who is the object of a dream-like desire that is destined to remain forever unfulfilled. Through the cycle of missed gazes that is the emotional core of this painting, Boyd evoked unfulfilled longing and a sense of isolation within the compositional embrace of the figures, in the process transposing contemporary social issues into poetic and painterly allegory. Although this work is undeniably one of the more gentle images from the series, the central theme of the Bride paintings is the dream of integration through love, an ideal which is stripped of its romanticism by the culture of racism and violence that is the fundamental reason preventing the lovers from union. Boyd first became aware of the plight of the indigenous Australians when he visited the Simpson Desert in Central Australia in 1951. In Boyd's extant sketchbooks and recorded reminiscences from the 1951 journey, he records seeing Aborigines and half-castes '. living in squalor in shanty towns, whorlies and dry riverbeds. ' (Hoff, op. cit, p. 49. )

Boyd himself commented that 'They are forced into this position and it has a serious effect on you, when you are not used to it. You suddenly come against it after imagining that they are noble savage types living in the bush. ' (A Boyd cited in F Philipp, op. cit. pp. 84-86. ) Since the time of colonization, Aboriginals had been the subject of many works of art by colonial artists and continued to be depicted in the art of Boyd's contemporaries such as Russell Drysdale. Common to all of these works however, was either an idealization of Aboriginal culture or their portrayal in an isolated landscape devoid of social context. With the Bride series, Boyd became the first Australian artist to represent indigenous Australian within a cross-cultural social context, thereby confronting the deep divisions that exist between white and black Australia. The blonde curls, white face and straight nose (a hallmark of European physiognomy) of the bride contrasts strongly with the bearded, pug-nosed face of her bridegroom. Although she too is half-caste, for her thwarted suitor she remains the symbol of an unobtainable union with white Australia. The bridegroom is represented in his usual watchful pose, with knees drawn up and an inscrutable expression on his face; a pose that Philip interpreted as that of 'the dreamer'. Boyd's engagement with art historical precedents is also evident in this work which contains allusions to Chagall. Philip noted that: 'The following paintings are pitched in a less substantial and cooler mode, with tenebrous blues and greens dominating.

Bridegroom waiting for his Bride to grow up, on of the highest poetic realizations of the series, is also a key picture. Moving towards a more severe style, it still lacks the frozenness and textural austerity of the monumental group: the paint is scumbled in the blue posy-tree and the veil of the phantom bride's head which emerges from it. This painting more than any other suggests to me an awareness of Chagall. Boyd fully masters the kinetics of his marionettes, which seem suspended from one fulcrum of gravity: their startled and obsessed stance and movement, their all-eye stare, the click of their non-relations. ' (F Philip, op. cit, p. 92. ) The half-caste bridegroom, his transitional cultural status made evident through his European dress and bare feet, wears a suit directly derived from the bridegroom in Chagall's floating wedding pictures. Situated within a stark and denuded landscape that further emphasizes the pathos of the displacement of the Aborigines, he is now incongrous in his native landscape. It is the subtle representation of this final indignity that freed Australian art from depictions of indigenous Australians as 'noble savages' and allowed a modern political conscience into our artistic culture. The recurring motif of weightlessness sees the bride being constantly pulled away from her beloved by an unseen force that contradicts gravity.

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In all of the Bride pictures there is a repetition of something, or someone, being trodden on: in 'Bridegroom waiting for his Bride to grow up', the bridegroom treads on her train and holds the posy-tree between his toes. As Franz Philipp noted: 'Boyd's ballad, then, is a dream play: the half-caste girl. turns into the 'white bride' who cannot grow up (i,e, become real. ) Always she remains in a dream which the dreamer tries to retain, to hold with his clumsy physical weight by stepping on the bridal train or by sitting on it. (Philipp, op. cit, p. 88. ) Such subtle compositional devices act as eloquent truths about the nature of inherited burdens, which, once understood, are all the more forcible for being cloaked in allegory. Boyd's use of tempera mixed with oil results in a beguiling translucency that adds to the dreamlike quality of the painting and is particularly evident in the face of the bride. The painting is an essay in texture with the scumbled areas of subtle colour contrasting with the smooth finish evident in areas such as the bridegroom's jacket which in turn gives way to the impasto used in the flowers. Boyd brilliantly used materials and technique to underscore the narrative and composition of the work as may be seen in the denser paint evident in the endearingly ungainly figure of the bridegroom. His solidity is in marked contrast to the thinly layered paint used to represent both of the brides and which contributes to the sense of their ethereality. The significance of the Bride series was evident from the advent of its first exhibition and led to solo shows for Boyd in Australia and a retrospective at the Whitechapel Gallery in London. With the Bride series, Hoff concluded 'Boyd ceases to be precocious and achieves both absolute originality and complete maturity; these paintings are, I believe, the watershed of his art and without them he could not have done some of the notable later series. ' (U Hoff, op. cit., p. 22. ) Turning allegory into a weapon for social awareness, Boyd simultaneously highlighted his sophistication as an artist while portraying the deeper complexities of a social problem that continues to confront a psychologically post-colonial Australia. The series of which this painting is an integral part will always be ranked as one of the pre-eminent contributions to Australia's pictorial history.

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Dreaming bridegroom I, 1958 Bride

Arthur Boyd (1920-1999)

Oil and tempera on canvas
 
122 x 152.5 cm

2000
May 2, Sotheby's Melbourne, Lot 36
Estimate: $500,000-600,000

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SOLD: $957,000

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Death of a Husband, 1958 Bride

Arthur Boyd (1920-1999)
M
edium: oil on composition board

Size: 91.5 x 122.5 cm

6 Feb 2007  SOLD: $660,000
Lawson-Menzies Lot 325
 Est: $550,000-$700,000

 18 June 2008 SOLD: $900,000
Deutscher~Menzies Lot 27 Est: $700,000-900,000

24 March 2011 SOLD:: $600,000

Menzies Lot 43 Est: $650,000-$850,000

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Mourning Bride I, 1957

Arthur Boyd (1920-1999)

Oil and tempera on canvas
Wikipedia
121.5 x 175 cm

2000 June 28 Christies Melbourne Lot 79
Estimate: $600,000- 800,000 

SOLD: $833,000

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Bride Walking in A Creek I, 1959

Arthur Boyd
 (1920-1999)

Oil and tempera on composition board
105.5 x 136.5 cm

2005 September Sotheby's Lot 39
Estimate: $600,000-800,000


SOLD: $703,000

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Persecuted Lovers 1955-57 Bride Series

Artist: Arthur Boyd (1920-1999)


 Oil on Composition board
137.2 x 182.9


Art Gallery of South Australia Collection Credit: A.R. Ragless Bequest Fund 1964

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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.

 

Bride in a Cave with Rainbow

Arthur Boyd (1920-1999)

Oil and tempera on composition board
90 x 121 cm

2002 August 25, Sydney, Sotheby's Australia  Lot 44
Estimate: $400,000-600,000  


SOLD: $428,500

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Bride and Bridegroom with Rainbow at the Waterhole 1960
also known as
Bridegroom at the Waterhole

Arthur Boyd (1920-1999)

oil and tempera on composition board
91 x 122 cm


2005
Sotheby's Lot 7 Est: $200,000-$300,000
SOLD: $264,875 

2008 Deutscher-Menzies Lot 30 Est: $550,000-$700,000
SOLD: $660,000

2009 Deutscher-Menzies Lot 39 Est: $550,000-$700,000
SOLD: $600,000 

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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.

Boyd had an intimate knowledge of the landscape that he painted, acquired through both living and working in the area. Furthermore, his prolific production of small Shoalhaven landscapes on copper, which were characterised by precision and detail, helped to imbue his larger scale paintings with a delicacy and lightness of touch. By the late 1980s, the Shoalhaven was the source of inspiration for much of Boyd's work, but this did not result in the artist abandoning his earlier imagery and themes. Exemplified by Bride on the Shoalhaven, Boyd unites the mystical figure of the bride with the exquisite Shoalhaven landscape.

In the painted world of Arthur Boyd's imagining, "people are suspended between worlds, or states of being, between the pitiless forces of nature and the god-like grace of being human, between hostility and serenity, participation and voyeurism, love and lust and so on" (B. Pearce, "Arthur Boyd", Australian Painters of the Twentieth Century, Sydney, 2000, p.149).

Boyd moved with his family to London late in 1959. There, his exposure to the works of Piero di Cosimo and Titian broadened the artist's horizons, enabling him to tap into a wellspring of mythological and symbolic currents that would continue to shape his art for the rest of his life. This attraction to the mythological did not distract Boyd from the course he had set as an artist during the previous thirty years in Australia: rather, it would imbue much of his art from this time on with a dramatic darkness and resonance.

Bride with her Lover exemplifies the artist's new-found expressiveness, taking the theme of the Bride, which originated in the late 1950s as a symbol of his horror at the living conditions of Aboriginal Australians, and transforming her into a universal figure. In the case of Bride with her Lover, the universality of the Bride seems, as in a related work Double Nude II "to have grown out of the (ex-) half-caste lovers of 1960: bared of clothes as of the last vestiges of the original 'story' the united lovers have turned into a 'joined figure' - to use a Boydian title- suggestive perhaps of the bisexual oneness of the platonic myth, but stated with characteristic literalness. The spectrum of meaning may run from love-death, the re-entering of an eternal cycle, to narcissistic doom." (F. Philipp, Arthur Boyd, London, 1967, p.96).

The eternality of the scene is not only to be found in the symbiotic melding of the two central figures, but also their dissolution into the surrounding landscape. The groom's body is given substance only through his eyes, the fingers of his left hand, and a swathe of black curls, highlighted with sweeps of white paint, which tumble around his face. Otherwise, his body disappears into the forest floor, made insubstantial below and hidden from above by the bride's wedding gown and veil. Although given greater substance, the bride, too, melds into the forest, white swathes of paint in her veil turning to the blue of the background hill, her skirt dissolving into the trees on the left. A crow observes the couple from a tree, a reminder again of the eternal cycle of love and death.

When Arthur Boyd visited the desert regions of Central Australia in 1951, he could hardly have imagined that paintings resulting from that experience would, within the decade, be shown in a London gallery; purchased by Australian, British and American collectors; and become the basis of his international recognition. His work is now represented in the Australian national and all state galleries and his 'Bride' series, which includes Bride walking in a Creek I, is ranked among his greatest achievements. Arthur Boyd was born in 1920 in Melbourne, Australia, into a dynasty of artists. Although Boyd enrolled intermittently at the National Gallery of Victoria's art school during the 1930s, he learnt primarily from his family and their wider intellectual circle in Melbourne: painting techniques, art history, biblical history and an intense emotional engagement with news brought from Europe by immigrant friends. He was deeply moved by stories of displacement and dispossession. Austrian-born fellow artist Josl Bergner had fled pre-War Europe in 1937. The art historian Franz Philipp, an early supporter of Boyd's work, arrived in Australia aboard the prison ship Dunera: one of over 2000 German and Austrian interns sent from Britain in 1940. Boyd himself served briefly and unhappily in the Australian army during the Second World War. Then, as his biographer Barry Pearce explains, Boyd found in the Aboriginal settlements near Alice Springs, in Central Australia, a race of displaced people, caught between two cultures, 'and the implication in it of something universal'. He saw and sketched shanty towns, shearers, tribes people, and witnessed an Aboriginal marriage with 'half-caste' women dressed in wedding gowns. Although profoundly dismayed by the plight of the Aboriginal people he met - and aware that this was a contemporary tragedy unknown to most urban Australians - he was not NOWed in making a social-realist record. Rather, he took the idea of a half-caste groom wooing a half-caste bride, worked it into a series of large scale paintings and constructed a kind of ballad or a 'passion play about the tribulations associated with the pursuit of love'.

Boyd originally called his Bride series 'Love, marriage and death of a half-caste'. In the earliest paintings, first exhibited in Melbourne in 1958, there is clear reference to the arid landscape around Alice Springs. Floating figures, posies of flowers and a blue-faced Aboriginal groomsman deliberately call Chagall to mind. However, here in Bride walking in a Creek I, the background is more verdant, the pigments densely worked into a setting for a haunting dream of love and loss. Boyd included Bride walking in a Creek in the now iconic 1959 exhibition of the 'Antipodeans': the manifesto of Melbourne's leading young artists upholding figurative expressionism in avant-garde art. This was also one of the paintings Boyd took with him when he and his family sailed for Europe at the end of that year and was included in his first London one-man show at the Zwemmer Gallery. Clearly Boyd's composition owes something to Rembrandt's Woman bathing in a Stream of 1654 in the London National Gallery. In the calm after the storm of the war years, Boyd had turned to the Old Masters for inspiration, researching traditional techniques in publications such as The Materials of the Artist and their Use in Painting by Max Doerner (1934). By 1959, Boyd had studied important paintings by Rembrandt at the Gallery in Melbourne but knew A woman bathing in a stream only in reproduction. Indeed he painted a copy from a reproduction in the mid 1940s; as well as two versions of Susanna and the Elders, one of these a mural completed in 1948-9 for the dining room of his uncle Martin Boyd's country house. Where Rembrandt depicted his mistress Hendrickje Stoffels wading in a stream and evoking variously a mythological Diana or a biblical Susanna or Bathsheba, Boyd's wading woman is clearly Australian. In surviving photographs of his Susanna mural, sadly now destroyed, the trees hanging over the water are eucalyptus.  Similarly, Boyd's bride is walking, with her Rembrandtesque garment lifted, in a distinctly antipodean 'creek' - reminiscent of the upper reaches of the Yarra River. In the words of Franz Philipp, 'Rembrandt the humanist, the moral, psychological and poetic interpreter of the Bible and, in it, of mankind, appealed to a painter of strong humane and moral convictions'.  However, rather than mere homage, there is a note of affectionate irony in Boyd's relationship with the art of the past. Boyd's reference to Susanna in Bride walking in a Creek is more overt than Rembrandt's in A woman bathing in a stream, for he includes a dark profile-head watching from the foreground (somewhat reminiscent of the profiled Elder in Rembrandt's earlier Susanna and the Elders, 1647, in the Berlin Gem'ldegalerie). Yet Boyd's approach to the theme is entirely his own. Just as the apocryphal Susanna innocently aroused sexual desire in old men who spied on and then falsely accused her, so Boyd's Bride seems oblivious of the observer in the bush.  In Boyd's Bride paintings the blue-shaded face is often accompanied by another watcher - the slightly ominous but apparently benign black crow.  Although there is a powerful underlying eroticism in this work, the theme of Boyd's Bride series, more than anything else, is humanity's suspension between worlds. 'The half-caste's dilemma was between what we have and what we want; what we are and what we fear'.  Arthur Boyd's art at its greatest is both intensely personal and profoundly universal. Bride walking in a Creek is one of very few major paintings from this iconic series to have remained, 'undiscovered' in the collection of its first owner's family for almost fifty years. Barry Pearce, Arthur Boyd, retrospective, Art Gallery of New South Wales, Sydney, 1993, pp. 20-21. . (2) Franz Philipp, Arthur Boyd, Thames & Hudson, London, 1967, p. 45. . (3) Pearce, op. cit., p. 21.

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About Arthur Boyd Bride series Christies NOTES Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

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Arthur Boyd's Bride series has rightfully earned a canonical place in Australian art history, due to its powerful picotrialisation of issues of social justice, rendered in a poetic style that blends figuration with an abstracted surrealism. It has been suggested that "The Bride series constitutes, together with Nolan's two series on Burke and Wils and Ned Kelly, the most powerful visual images to emerge from Australian painting... in this century." (U Hoff, The Art of Arthur Boyd, London, 1986, p.22.)

The original title of the series was 'Love, Marriage and Death of a Half-Caste', a title that was deliberately ambiguous. Rather than presenting a simplistic symbolism of a longed for union between white and black Australia, Boyd avoided a reductive simplification of the racial issues by making both the bride and bridegroom half-caste. The complexity of the narrative relations was deepened by the doubling of the bride figure in the form of an impossible phantom bride, who is the object of a dream-like desire that is destined to remain forever unfulfilled.

Through the cycle of missed gazes that is the emotional core of this painting, Boyd evoked unfulfilled longing and a sense of isolation within the compositional embrace of the figures, in the process transposing contemporary social issues into poetic and painterly allegory. Although this work is undeniably one of the more gentle images from the series, the central theme of the Bride paintings is the dream of integration through love, an ideal which is stripped of its romanticism by the culture of racism and violence that is the fundamental reason preventing the lovers from union. Boyd first became aware of the plight of the indigenous Australians when he visited the Simpson Desert in Central Australia in 1951.

In Boyd's extant sketchbooks and recorded reminiscences from the 1951 journey, he records seeing Aborigines and half-castes "...living in squalor in shanty towns, whorlies and dry riverbeds." (Hoff, op.cit, p.49.) Boyd himself commented that "They are forced into this position and it has a serious effect on you, when you are not used to it... You suddenly come against it after imagining that they are noble savage types living in the bush..." (A Boyd cited in F Philipp, op.cit. pp.84-86.)

Since the time of colonisation, Aboriginals had been the subject of many works of art by colonial artists and continued to be depicted in the art of Boyd's contemporaries such as Russell Drysdale. Common to all of these works however, was either an idealisation of Aboriginal culture or their portrayal in an isolated landscape devoid of social context.

With the Bride series, Boyd became the first Australian artist to represent indigenous Australian within a cross-cultural social context, thereby confronting the deep divisions that exist between white and black Australia. The blonde curls, white face and straight nose (a hallmark of European physiognomy) of the bride contrasts strongly with the bearded, pug-nosed face of her bridegroom. Although she too is half-caste, for her thwarted suitor she remains the symbol of an unobtainable union with white Australia.

The bridegroom is represented in his usual watchful pose, with knees drawn up and an inscrutable expression on his face; a pose that Philipp interpreted as that of "the dreamer".

Boyd's engagement with art historical precedents is also evident in this work which contains allusions to Chagall. Philipp noted that: "The following paintings are pitched in a less substantial and coller mode, with tenebrous blues and greens dominating.

Bridegroom waiting for his Bride to grow up, on of the highest poetic realizations of the series, is also a key picture. Moving towards a more severe style, it still lacks the frozenness and textural austerity of the monumental group: the paint is scumbled in the blue posy-tree and the veil of the phantom bride's head which emerges from it.

This painting more than any other suggests to me an awareness of Chagall. Boyd fully masters the kinetics of his marionettes, which seem suspended from one fulcrum of gravity: their startled and obsessed stance and movement, their all-eye stare, the click of their non-relations." (F Philipp, op.cit, p.92.) The half-caste bridegroom, his transitional cultural status made evident through his European dress and bare feet, wears a suit directly derived from the bridegroom in Chagall's floating wedding pictures.

Situated within a stark and denuded landscape that further emphasises the pathos of the displacement of the Aborigines, he is now incongrous in his native landscape. It is the subtle representation of this final indignity that freed Australian art from depictions of indigenous Australians as 'noble savages' and allowed a modern political conscience into our artistic culture.

The recurring motif of weightlessness sees the bride being constantly pulled away from her beloved by an unseen force that contradicts gravity. In all of the Bride pictures there is a repetition of something, or someone, being trodden on: in 'Bridegroom waiting for his Bride to grow up', the bridegroom treads on her train and holds the posy-tree between his toes. As Franz Philipp noted: "Boyd's ballad, then, is a dream play: the half-caste girl... turns into the 'white bride' who cannot grow up (i,e, become real...) Always she remains in a dream which the dreamer tries to retain, to hold with his clumsy physical weight by stepping on the bridal train or by sitting on it... (Philipp, op.cit, p.88.)

Such subtle compositional devices act as eloquent truths about the nature of inherited burdens, which, once understood, are all the more forcible for being cloaked in allegory. Boyd's use of tempera mixed with oil results in a beguiling translucency that adds to the dreamlike quality of the painting and is particularly evident in the face of the bride. The painting is an essay in texture with the scumbled areas of subtle colour contrasting with the smooth finish evident in areas such as the bridegroom's jacket which in turn gives way to the impasto used in the flowers.

Boyd brilliantly used materials and technique to underscore the narrative and composition of the work as may be seen in the denser paint evident in the endearingly ungainly figure of the bridegroom. His solidity is in marked contrast to the thinly layered paint used to represent both of the brides and which contributes to the sense of their ethereality.

The significance of the Bride series was evident from the advent of its first exhibition and led to solo shows for Boyd in Australia and a retrospective at the Whitechapel Gallery in London. With the Bride series, Hoff concluded "Boyd ceases to be precocious and achieves both absolute originality and complete maturity; these paintings are, I believe, the watershed of his art and without them he could not have done some of the notable later series." (U Hoff, op.cit., p.22.)

Turning allegory into a weapon for social awareness, Boyd simultaneously highlighted his sophistication as an artist while portraying the deeper complexities of a social problem that continues to confront a psychologically post-colonial Australi. The series of which this painting is an integral part will always be ranked as one of the pre-eminent contributions to Australia's pictorial history.

Arthur Boyd white bride searches for her lost aboriginal groom in a fantastic landscape inhabited by predatory birds. Marriage between aboriginals and white women was a taboo subject in Australia in 1948. She hovers above her lost lover whose body is half immersed in the creek. Threatening birds hop dangerously close, the nearer with a large red penetratingly-observant eye. Perhaps the birds represent a disapproving populace ready to pounce if things get too far out of hand. Misty landscape features blur the coalescence of the figures and threatening clouds add to our sense of foreboding.

Boyd's place as one of Australia's most significant painters of the 20th century, was based on a prodigious talent and effervescent, if often bleak, imagination. In 1959, the Boyd family moved to London. His first London exhibition (Zwemmer Galleries, July-Aug 1960), comprising the bride series on the theme of thwarted lovers, was a prelude to his representation in the Whitechapel and Tate Gallery exhibitions, 1961,62.

By the mid-1970's he had gifted several thousand works to the NGA and in 1973, he and Yvonne Boyd purchased a house and property, Riverdale, at Shoalhaven, on the south coast of NSW, followed a few years later by the nearby Bundanon, both of these properties they gave to the nation in 1993. Several feature films have been made on his work and in 1993, Barry Pearce curated a major retrospective of his paintings, prints, drawings and ceramics for the AGNSW, which toured to other state galleries in 1994. His work has been included in every major touring exhibition of Australian art since the mid 1970s.

Awards: Dunlop Prizes, Melb., 1950, 52; Kuringai, NSW Prize, 1958; Henry Casselli Richards Prize, Brisb, 1963; Brittanica Australia Award, 1971; artist-in-residence, ANU, 1970-72; AO, 1979; AC, 1992; Australian of the year 1995.

Reference: McCulloch, A., McCulloch, S., McCulloch Childs, E., The New McCulloch's Encyclopedia of Australian Art, (4th edition), The Miegunyah Press, Melbourne, 2006, pp.274.

Encapsulating the heroic and poetic in an Antipodean tragedy of thwarted lovers, Arthur Boyd’s ‘Love, Marriage and Death of a Half-Caste’ series 1954–59 is universally considered among his finest. Thus, upon his arrival in London shortly after completion of the landmark series for which he had won so much acclaim, Boyd did not immediately abandon this hauntingly beautiful theme but rather, began to develop the imagery further – transforming his nubile bride from the wide-eyed, flat-footed innocent with all her earthly physicality to the sylph-like nymph featured here whose ephemeral presence hovers insect-like above the lush, wooded landscape. Rare and highly sought-after, the small group of paintings resulting from such experimentation and exemplified by Landscape with Bride, Ram and Waterfall, moreover heralded significant thematic and stylistic shifts in the artist’s oeuvre that would culminate in his ‘mythological’ paintings of the late 1960s.

Profoundly influenced by the great masterpieces of Renaissance art which were now so readily accessible in Europe’s vast collections, these later Bride paintings poignantly illustrate the artist’s predilection for eclecticism at its extreme. Merging his previous interpretations of the theme with literary references to classical mythology and his predecessors’ pictorial meditations upon the destinies of Eros, Boyd here creates his own highly personal, erotic symbolism; as Rosenthal elucidates, ‘In many pictures, the fantasy has a basis in metamorphosis, as in Nude Turning into Dragonfly or Bride Turning into a Windmill. In others, Boyd displays his enduring habit of eclectic borrowing – for example, the fruitful left breast from Tintoretto’s Origin of the Milky Way or the mournful, seated dog from Piero di Cosimo’s picture of the satyr mourning a dead girl.’1 All are nevertheless distinguished from Boyd’s previous work by a more sophisticated painterly technique in which the relative flatness of the picture surface is exchanged for a heavier impasto style featuring thick streaks of paint carefully worked with a knife or brush-handle akin to the vigour of contemporary expressionism.

A superb example of this later series, Landscape with Bride, Ram and Waterfall features the chief protagonist portrayed as a dark, hovering, half-transparent phantom, the white halo of her veil forming a full circle recalling the blades of a turning windmill while below, the burning, consuming passion of her lover emerges from the darkness of the primeval forest. In its themes of allurement and the threat of unknown depths, the work evokes unmistakable associations with the myth of Narcissus, while stylistically the motif of the flaming bushland prefigures the artist’s fiery explorations of the Old Testament Nebuchadnezzar theme. Like the best of Boyd’s achievements, the present work offers a highly idiosyncratic composition, of multiple meaning and quenching thirst, and redolent with the energy of drama.

Rosenthal, T., ‘Introduction’ in Hoff, U., The Art of Arthur Boyd, Andre Deutsche, London, 1986, pp. 22–3.

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Christies Lot 47 Notes - Arthur Boyd, Bride with her lover - 2005, 22 August Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

In the painted world of Arthur Boyd's imagining, "people are suspended between worlds, or states of being, between the pitiless forces of nature and the god-like grace of being human, between hostility and serenity, participation and voyeurism, love and lust and so on" (B. Pearce, "Arthur Boyd", Australian Painters of the Twentieth Century, Sydney, 2000, p.149). Boyd moved with his family to London late in 1959. There, his exposure to the works of Piero di Cosimo and Titian broadened the artist's horizons, enabling him to tap into a wellspring of mythological and symbolic currents that would continue to shape his art for the rest of his life. This attraction to the mythological did not distract Boyd from the course he had set as an artist during the previous thirty years in Australia: rather, it would imbue much of his art from this time on with a dramatic darkness and resonance.

Bride with her Lover exemplifies the artist's new-found expressiveness, taking the theme of the Bride, which originated in the late 1950s as a symbol of his horror at the living conditions of Aboriginal Australians, and transforming her into a universal figure. In the case of Bride with her Lover, the universality of the Bride seems, as in a related work Double Nude II "to have grown out of the (ex-) half-caste lovers of 1960: bared of clothes as of the last vestiges of the original 'story' the united lovers have turned into a 'joined figure' - to use a Boydian title- suggestive perhaps of the bisexual oneness of the platonic myth, but stated with characteristic literalness. The spectrum of meaning may run from love-death, the re-entering of an eternal cycle, to narcissistic doom." (F. Philipp, Arthur Boyd, London, 1967, p.96). The eternality of the scene is not only to be found in the symbiotic melding of the two central figures, but also their dissolution into the surrounding landscape. The groom's body is given substance only through his eyes, the fingers of his left hand, and a swathe of black curls, highlighted with sweeps of white paint, which tumble around his face. Otherwise, his body disappears into the forest floor, made insubstantial below and hidden from above by the bride's wedding gown and veil. Although given greater substance, the bride, too, melds into the forest, white swathes of paint in her veil turning to the blue of the background hill, her skirt dissolving into the trees on the left. A crow observes the couple from a tree, a reminder again of the eternal cycle of love and death.

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Tamino and Pamina with The Queen of The Night The Magic Flute series

Arthur Boyd (1920-1999)

Oil and
canvas 1990
185 x 175.5cm

Signed lower right: ARTHUR BOYD

Provenance:
Yvonne Boyd private collection

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Nebuchadnezzar the Ruler of Babylon Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

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Nebuchadnezzar
(listen) (c 630-562 B.C.E), was a ruler of Babylon in the Chaldean Dynasty, who reigned c. 605 BC-562 BC.

Nebuchadnezzar is famous for his monumental building within his capital of Babylon, his role in the Book of Daniel, and his construction of the Hanging Gardens of Babylon and known among Christians and Jews for his conquests of Judah and Jerusalem. He was traditionally called "Nebuchadrezzar the Great", but his destruction of temples in Jerusalem and the conquest of Judah caused his vilification in the Bible, (Daniel 1:1; Prophecied Jeremiah 25:11).

In contemporary Iraq and some other parts of the Middle East, Nebuchadnezzar is glorified as a historic leader. Nebuchadnezzar was the oldest son and successor of Nabopolassar, who delivered Babylon from its dependence on Assyria and laid Nineveh in ruins.

According to Berossus, he married Amytis of Media, the daughter or granddaughter of Cyaxares, king of the Medes, and thus the Median and Babylonian dynasties were united. Necho II, the king of Egypt, had gained a victory over the Assyrians at Carchemish. This secured Egypt the possession of Phoenician provinces of the Neo-Assyrian Empire, including parts of Syria. The remaining Assyrian provinces were divided between Babylonia and Media. Nabopolassar was intent on reconquering from Necho the western provinces of Syria, however, and to this end dispatched his son with a powerful army westward. In the ensuing Battle of Carchemish in 605 BC, the Egyptian army was defeated and driven back, and Syria and Phoenicia were brought under the sway of Babylon. Nabopolassar died on August 15, 605 BC and Nebuchadrezzar quickly Return Top Toped to Babylon to ascend to the throne. After the defeat of the Cimmerians and Scythians, all of Nebuchadrezzar's expeditions were directed westwards, although a powerful neighbour lay to the North; the cause of this was that a wise political marriage with Amuhia, the daughter of the Median king, had ensured a lasting peace between the two empires.

Nebuchadrezzar faces off against Zedekiah, the last king of Judah, who holds a plan of Jerusalem, in this Baroque-era depiction in Zwiefalten Abbey in Germany. Nebuchadrezzar engaged in several military campaigns designed to increase Babylonian influence in Syria and Judah. An attempted invasion of Egypt in 601 BC was met with setbacks, however, leading to numerous rebellions among the states of the Levant, including Judah. Nebuchadrezzar soon dealt with these rebellions, capturing Jerusalem in 607 BC deposing King Jehoiakim, destroying both the city and the Temple and deporting many of the prominent citizens along with a sizable portion of the Jewish population of Judah to Babylon. These events are described in Ketuvim, a section of Tanakh, the Hebrew Bible and known to non-Jews as the Old Testament. After the destruction of Jerusalem, Nebuchadrezzar engaged in a thirteen year long siege of Tyre (585-572 BC), which ended in a compromise, with the Tyrians accepting Babylonian authority. It would appear that following the pacification of Tyre, Nebuchadrezzar turned again to Egypt. A clay tablet, now in the British Museum, bears the following inscription referring to his wars: "In the 37th year of Nebuchadrezzar, king of the country of Babylon, he went to Mitzraim (Egypt) to make war. Amasis, king of Egypt, collected [his army], and marched and spread abroad.". Having completed the subjugation of Phoenicia, and inflicted chastisement on Egypt, Nebuchadrezzar now set himself to rebuild and adorn the city of Babylon, and constructed canals, aqueducts, temples and reservoirs. Babylonian tradition has it that towards the end of his life, Nebuchadrezzar, inspired from on high, prophesied the impending ruin to the Chaldean Empire (Berosus and Abydenus in Eusebius, Praep. Evang., 9.41). Nebuchadrezzar died in Babylon between the second and sixth months of the forty-third year of his reign.

Nebuchadrezzar seems to have prided himself on his constructions more than on his victories. During the last century of Niniveh's existence, Babylon had been greatly devastated, not only at the hands of Sennacherib and Assurbanipal, but also as a result of her ever renewed rebellions. Nebuchadrezzar, continuing his father's work of reconstruction, aimed at making his capital one of the world's wonders. Old temples were restored; new edifices of incredible magnificence were erected to the many gods of the Babylonian pantheon (Diodorus of Sicily, 2.95; Herodotus, 1.183) to complete the royal palace begun by Nabopolassar, nothing was spared, neither "cedar-wood, nor bronze, gold, silver, rare and precious stones"; an underground passage and a stone bridge connected the two parts of the city separated by the Euphrates; the city itself was rendered impregnable by the construction of a triple line of walls. The bridge across the Euphrates is of particular NOW, in that it was supported on asphalt covered brick piers that were streamlined to reduce the upstream resistance to flow, and the downstream turbulence that would otherwise undermine the foundations. Nor was Nebuchadrezzar's activity confined to the capital; he is credited with the restoration of the Lake of Sippar, the opening of a port on the Persian Gulf, and the building of the famous Mede wall between the Tigris and the Euphrates to protect the country against incursions from the North. In fact, there is scarcely a place around Babylon where his name does not appear and where traces of his activity are not found. These gigantic undertakings required an innumerable host of workmen; from the inscription of the great temple of Marduk, we may infer that most probably captives brought from various parts of Western Asia made up a large part of the labouring force used in all his public works. Nebuchadrezzar made the hanging gardens for his wife Amyitis (or Amytis) to remind her of her homeland, Medis (or Media).[1] She was the daughter (or granddaughter) of King Cyaxares the Mede.There was a Portrayal in the Books of Daniel and Jeremiah Nebukadnezar, by William Blake,

Nebuchadrezzar is most widely known through his portrayal in the Bible, especially the Book of Daniel (where he appears as "Nebuchadnezzar"). This book discusses several events of his reign, in addition to his conquest of Jerusalem. In the second year of his reign (evidently counting from his conquest of the Jews), Nebuchadrezzar dreams of a huge image made of various materials (gold, silver, bronze, iron, etc). The prophet Daniel tells him God's interpretation, that it stands for the rise and fall of world powers. (Daniel Chapter 2). During another incident, Nebuchadrezzar erects a large idol for worship during a public ceremony on the plain of Dura. When three Jews, Hananiah, Mishael, and Azariah (respectively renamed Shadrach, Meshach, and Abednego by their captors, to facilitate their assimilation into Babylonian culture), refuse to take part, he has them cast into a fiery furnace. They are protected by an angel [Daniel 3:25, KJV], and emerge unscathed without even the smell of smoke. (Daniel Chapter 3). Another dream, this time of an immense tree, is interpreted by Daniel the prophet. (Daniel Chapter 4) Chapter 4 is also written by Nebuchadrezzar (Nebuchadnezzar the king, unto all people, nations, and languages, that dwell in all the earth; Peace be multiplied unto you. I thought it good to shew the signs and wonders that the high God hath wrought toward me.) DAN4:1-2. While boasting over his achievements, Nebuchadrezzar is humbled by God. The king loses his sanity and lives in the wild like an animal for seven years (by some considered as an attack of the madness called clinical boanthropy or alternately porphyria). After this, his sanity and position are restored. A clay tablet in the British Museum (BM34113) describes Nebuchadnezzar's behaviour during his insanity: "His life appeared of no value to him... then he gives an entirely different order... he does not show love to son or daughter... family and clan does not exist [2]. There is also a notable absence of any record of acts or decrees by the king during 582 to 575 BC.[3] Some scholars believe that the Book of Daniel was written long after the events described, during the 2nd century BC, and thus are skeptical of the details of Nebuchadrezzar's portrayal by Daniel. Some scholars think that Nebuchadrezzar's portrayal by Daniel is a mixture of traditions about Nebuchadrezzar — he was indeed the one who conquered Jerusalem — and about Nabonidus (Nabuna'id), the last king of Babylon. For example, Nabonidus was the real father of Belshazzar, and the seven years of insanity could be related to Nabonidus' sojourn in Tayma in the desert. Evidence for this view was actually found on some fragments from the Dead Sea Scrolls that reference Nabonidus (N-b-n-y) being smitten by God with a fever for seven years of his reign while his son Belshazzar was regent. The Book of Jeremiah contains a prophecy about the arising of a "destroyer of nations", commonly regarded as a reference to Nebuchadnezzar (Jer. 4:7), as well as an account of Nebuchadnezzar's siege of Jerusalem and looting and destruction of the temple (Jer. 52).

Successors: After his death in October, 562 BC, having reigned 43 years, he was succeeded by his son Amel-Marduk, who, after a reign of two years, was succeeded by Neriglissar (559-555), who was succeeded by Nabonidus (555-538), at the close of whose reign (less than a quarter of a century after the death of Nebuchadrezzar) Babylon fell under Cyrus the Great as the head of the combined armies of Media and Persia.

Named after Nebuchadrezzar

Notes

  1. ^ Foster, Karen Polinger (1998). "Gardens of Eden: Flora and Fauna in the Ancient Near East". Transformations of Middle Eastern Natural Environments: Legacies and Lessons: 320-329, New Haven: Yale University. Retrieved on 2007-08-11. 
  2. ^ Kendall K. Down, Daniel: Hostage in Babylon, p.30
  3. ^ Gleason Archer, Vol 7 Expositor's Bible Commentary.

References:

External links:

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signed by Arthur Boyd  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email                                               Boyd with Aniela 1995 Return Top

 
FP-SMH  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email      Return Top

Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email    Yvonne and Arthur Boyd photo 1997    Return Top

Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email  Historic Boyd exhibition in Galeria Aniela   Return Top
 

About Shoalhaven series  Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

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Arthur Boyd Return Top Toped to Australia from England at the beginning of 1975 and 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. The Narcissus paintings grew out of the subject -- water, reflections and the presence of a wild rock orchid. Some of the paintings continue early themes such as Bride drinking from a Creek.' (introduction to the 1977 exhibition catalogue)

'So as in Australian painting, as in all great landscape painting, the scenery is not painted for its own sake, but as a background of a legend and a reflection of human values.' K. Clark, introduction to Recent Australian Painting, Whitechapel Gallery, London, 1961.

In the wake of the small paintings on copper (examples:
Shoalhaven at Sunset, Shoalhaven River with Cockatoos and Shoalhaven Sunset also Christie's London, 16 Dec. 2008, lots 51-2, from the same 1977 Fischer Fine Art exhibition), 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. The imagery here echoes his Bride pictures and the subsequent Diana and Actaeon series of 1961, with its bestial metamorphoses. At the same time, in 1976, Boyd begins work on his Narcissus series of etchings, set in the same Shoalhaven locale, with its riverbank and reflecting pools under Pulpit Rock.

In 1984 Arthur and Yvonne Boyd left London to Return Top Top to Australia and, more specifically, to their property Bundanon, which lies midway between Sydney and Canberra, on the Shoalhaven River near Nowra on the New South Wales south coast. 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's NOW 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, ugly masks and monstrous 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. Never before in Boyd's work have nature and man stood in such striking juxtaposition. To quote
Elwyn Lynn, "the work is the epitome of the creative continuity of Arthur Boyd's art." (U Hoff, op.cit, p.81).

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Boyd VideosArthur Boyd and Aniela Kos, 1995, Alexander Boyd concert   Share your enjoyment in Arthur Boyd art   Click – Share your enjoyment in art  Email

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Click to enlarge - SOLD $114,115 - oil on copper (30.9 x 21.6 cm)Forrest circa 1976

Arthur Boyd (1920-1999)

oil on copper

30.9 x 21.6 cm

Christies London SOLD $114,115

 
Shearers playing for A Bride,1957

Arthur Boyd (1920-1999)

 oil and tempera on canvas
150.1 x 175.7 cm

National Gallery of Victoria Collection
Gift of Tristan Buesst

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A Century of Boyd Exhibition  March - May 2012   Return Top

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We anticipate exciting the public interest with a rare 'A Century of Boyd' exhibition that includes the previously unseen, signed, original Arthur Boyd painting Bride hurrying to her Aboriginal Bridegroom from the artist's earlier Bride series.

The painting was concealed in Boyd London studio since the 50’s, bolted with screws to the base of the trolley on the two pieces of board, and now for the first time, for the public viewing, revealed as discovered, prior restoring and not for sale.

Arthur Boyd dream big dreams of freedom and to eliminate injustice of human condition, Boyd dared to illustrate it eager to convey his idea. As other paintings from the Bride series, Bride hurrying to her Aboriginal Bridegroom is about resilience, survival, determination and continuity, the same as continuity of the Boyd dynasty art and continuity of art itself.

This year, (23 August 2011) Sotheby’s fetch a record $1.2 million for Arthur Boyd painting The Frightened Bridegroom mid-sized board (61.7 x 63.6 cm) from the artist's Bride series, that broke the record of $1.1m paid at Christies in 2001 for Boyd's 'Bridegroom Waiting for His Bride to Grow Up'.

Despite of the astonishing circumstances, the painting Bride hurrying to her Aboriginal Bridegroom survived almost six decades, now for the first time is for the public viewing in
'A Century of Boyd' exhibition that embrace:

Irrespective of the famous Boyd family name, works of art by the Boyd dynasty artists are the most loved. A Century of Boyd exhibition boasts paintings and bronzes of impeccable provenance and quality, from the Boyd family private collection in London and also some from Bundanon collection.

We trust that the provenance, the astonishing story and the rarity of the artworks ensures the record interest of public viewing and some items for acquisition.

Please
contact us  Email or call (02) 4465 1494

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 Prices may change without a prior notice please contact us

fine art is one of  the most enjoyable and viable investments

Disclaimer  Copyright  Contact  Galeria Aniela  261A Mt Scanzi Rd.  Kangaroo Valley  NSW 2577 Australia  T: +612 4465 1494