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Arthur Galeria Aniela the world’s local fine art gallery
Australian
contemporary
Aboriginal
art
Art
investment
ARTISTS
contact
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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 |
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Arthur Boyd
(1920-1999)
paintings
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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 |
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Convert Currency Buy Now prices may change without a prior notice email or phone +612 4465 1494 |
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![]() Wetland, Shoalhaven circa 1975, oil on board, 30x20 cm Buy NOW price: email |
![]() Shoalhaven River, Three Cockatoos, Black Swan, 38x31 cm Buy NOW price: $49,500 |
![]() Shoalhaven River with Black Swan, oil on board, 38x31cm Buy NOW price: $49,500 |
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Buy Now prices may change without a prior notice email or phone +612 4465 1494 |
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Convert Currency Buy Now prices may change without a prior notice email or phone +612 4465 1494 |
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Convert Currency Buy Now prices may change without a prior notice email or phone +612 4465 1494 |
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prices may change without a prior notice email or phone +612 4465 1494 Arthur Boyd Bride series |
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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 |
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![]() Arthur Boyd Auction Results Return Top 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
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) 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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Buy
NOW
price: $34,500
Front cover Nebuchadnezzar
Book 5/30
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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.
T
Arthur Boyd's Nebuchadnezzar
Series Education Resource Bundanon
PDF |
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Nebuchadnezzar
on Fire, fallen in
a field
CONDITION REPORT
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Soldier on horse and Aborigine
Arthur Boyd (1920-1999)
Signed lower right: "Arthur Boyd"
Exhibited:
Provenance: |
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NOTES about the meaning of Arthur Boyd art 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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Othello Listening, Magic Flute
Arthur Boyd (1920-1999)
Exhibited: Provenance: Boyd family private collection |
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Shoalhaven River Escarpment
circa 1975
Arthur Boyd (1920-1999) circa 1975 Signed: "Arthur Boyd" lower right
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:
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Shoalhaven
Riverbank
circa 1975
Arthur Boyd (1920-1999) 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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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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Shoalhaven at Sunset circa 1976
Arthur Boyd (1920-1999) Signed lower right: ARTHUR BOYD
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NOTES
RE:
Boyd
Shoalhaven - Pink
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.
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Forest with Boulders 1976
Arthur Boyd
(1920-1999)
16 Dec 2008
Christies London Lot No. 51 SOLD A$166,220 (£73,500) |
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Arthur Boyd (1920-1999)
Oil
on copper
16 Dec 2008
Christies London Lot No. 52
SOLD $114,115 (£ 50,460) |
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Arthur Boyd (1920-1999) Oil on copper signed 'Arthur Boyd' lower right
63.5 x 50.8 cm Christies London 11/10/2011 Lot No. 33A SOLD A$144,120 (£91,250) |
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31 x 21.5 cm |
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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. Return Top RETURN Shoalhaven Riverbank RETURN Shoalhaven at Sunset |
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Shoalhaven
Arthur Boyd
(1920-1999) SOLD $121,200
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Blackbirds Over Shoalhaven Riverbank c.1985Arthur Boyd (1920-1999)
Oil on board SOLD $59,090 |
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Shoalhaven
River with Figure and BoatArthur Boyd (1920-1999) Oil on canvas on board SOLD $82,250
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![]() Wetland - Shoalhaven River circa 1975
Arthur Boyd (1920-1999) 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
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![]() Shoalhaven River, Black Swan, Two White Cockatoos
Arthur Boyd (1920-1999) |
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Shoalhaven
River
Black Swan, Three
White
Cockatoos
Arthur Boyd (1920-1999) |
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![]()
Shoalhaven River with
Black Swan
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![]()
The Shoalhaven River
with Clouds 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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Lovers
in the Creek
circa 1960-63Cat. 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
Provenance:
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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:
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![]()
Nude
Unveiled
Arthur Boyd (1920-1999) |
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Arthur Boyd (1920-1999) Framed Size: 65 x 56 cm on 'Bride with Necklace, drinking from Shoalhaven River' |
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NOTES 'Bride
with Necklace,
drinking from Shoalhaven River' circa 1970-75
Arthur Boyd ’Bride with Necklace drinking from
Shoalhaven River’ painted circa 1970-75 with great buoyancy is a master work.
The Bride,
associated with love,
beauty and fertility is
wearing a 'Necklace'. 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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Bride and Groom by a Creek circa 1960, NGVArthur BOYD (1920-1999) Oil on Composition board 106.6 x 137.1 cm
National Gallery of Victoria
Collection
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Bride Drinking from a Creek
1960
Arthur Boyd
(1920-1999) 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)
2010
Menzies
Lot
47
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Bride and
Serpent
1995 |
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Exhibited:
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 |
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The
Frightened Bride-Groom 1958Arthur 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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Phantom
Bride 1958
Arthur Boyd (1020-1999)
01 May 2002
Deutscher~Menzies Lot No. 26 SOLD $1,037,500 |
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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
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. 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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Death
of a Husband, 1958
BrideArthur Boyd (1920-1999) Medium: 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, 1957Arthur 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, 1959Arthur Boyd (1920-1999) Oil and tempera on composition board 105.5 x 136.5 cm
2005
September
Sotheby's
Lot
39
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Persecuted
Lovers 1955-57
Bride
SeriesArtist: 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 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. |
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Arthur Boyd (1920-1999) |
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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 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. 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.
About Arthur Boyd Bride series
Christies NOTES
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.
Christies Lot 47 Notes
- Arthur Boyd, Bride with her lover - 2005, 22
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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, |
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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
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signed by Arthur Boyd
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About Shoalhaven series Shoalhaven at Sunset, Shoalhaven River with Cockatoos and Shoalhaven Sunset 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). |
9 News Current Affairs
May 2007|
Arthur
Boyd painting
fetches an impressive $660,000
significant investor NOW in Arthur Boyd sales
Tate London acquired Arthur
Boyd
first
Bride
at £250,000 June 2010 | London Telegraph |
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Forrest circa 1976
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Shearers
playing for A Bride,1957Arthur 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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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. |
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Prices may change without a prior notice please contact us |
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fine art is one of the most enjoyable and viable investments |
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