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Galeria Aniela
 
  the world’s local fine art e-gallery HOME
Founded in 1994 Galeria Aniela won the trust of some of the most important artists from the post WWII until today. We thank Bob Hawke the former Prime Minister of Australia, Sir David Attenborough, Cameron O’Reilly and Australian Media for support. Galeria Aniela's BOYD family show coup the front page Sydney Morning Herald, Australian National NEWS ABC TV and Sunday Afternoon ABC TV. John Perceval Retrospective secure Australian National NEWS ABC TV. Charles Blackman Retrospective won Art-Scream SBS TV. We built reputation in Australia and the World selling high-quality ART of impeccable provenance, shipping worldwide so artists can make living with their creations. We handle the first transfer of the ownership from the artist to the buyer Aboriginal and Non-Aboriginal artists including Arthur Boyd, Jamie Boyd, Lenore Boyd, Guy Boyd, John Perceval, Charles Blackman, John Olsen, Ningura Napurrula, Stephen Glassborow, Mrs. Bennett and many more.
If you  LOVE  quality art  of  impeccable  provenance,  the art you want  is  at Galeria Aniela

Arthur BOYD 1920-1999

Arthur Merric Bloomfield BOYD known as Arthur Boyd, is one of the most important artists from the post-WWII up until today. Arthur Boyd work ranges from impressionist landscape to figuration, some set Biblical stories against Australian landscape, such as The Expulsion (1948) at Art Gallery of NSW. AWARDS 1956 Antipodean Manifesto, 1971 Britannica Award, 1979 OBE UK, 1979 Order of Australia, 1995 Australian of the Year.

2010 The Age Google reworked its logoArthur Boyd 90th Birthday -  Google Logo Boyd-inspired "Shoalhaven at Sunset" , 24 July 2010 inspired by Shoalhaven at Sunset. Arthur Boyd work set record prices Drowned Bridegroom (122x183cm) sold for $1,952,000, Bride Running Away (91x121cm) $1,680,000, Sleeping Bride (91x122cm) sold for $1,586,000 and Shoalhaven River (30cm x 29cm) sold for $70,760 (June 2020).

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REvTrees Price

Artist: ARTHUR BOYD 1920-1999
Title:
River Escarpment
Medium: Oil on Board
Image size:
31cm x 21.2 cm
Framed size:
 65 cm x 56 cm

ENLARGE

Related Works

Price: $33,500  Enquire

Esc36 Price
Click to Enlarge: Arthur Boyd (1920-1999), Shoalhaven River Escarpment c.1970-75, Oil on Board, 36 cm x 30 cm
Artist: Arthur BOYD 1920-1999
Title: Escarpment

Medium: Oil on Board
Image size
:
36.5 x 31 cm
Framed size:
64 x 57 cm

Enlarge

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Price: $45,000 Enquire

opportunity to purchase museum-quality ART of impeccable provenance

Sunset Price
ARTHUR BOYD (1920-1999) Shoalhaven at Sunset c1976-78 oil on copper, 60.5 x 43.0 cm signed lower right: Arthur Boyd
Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven at Sunset
  c.1975
Medium: Oil on Copper

Image size
: 60 x 45 cm
Framed size:
95 x 80 cm

Enlarge

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Price: $99,000 Enquire

Click to Enlarge: Arthur Boyd, Shoalhaven Riverbank c.1970, Oil on Copper, 62 cm x  45 cm
Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven Escarpment 1970
Medium: Oil on Copper

Image size: 60 cm x 45 cm

Related Works

Price: SOLD

prices subject to change without notice


Artist: ARTHUR BOYD 1920-1999
Title: Bride and the Serpent watch
VIDEO
Medium: Oil on Canvas
Image
size: 122 x 94 cm

Framed size: 150 x 122 cm

Enlarge

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 Price: Enquire


Artist: ARTHUR BOYD 1920-1999
Title: Bride with the Necklace
Medium: Oil on Board
Image size
: 30 x 20 cm

Framed size: 65 cm x 56 cm

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Price: Enquire

Artist: Arthur BOYD 1920-1999

Title:  Solomon circa 1960

Medium: Oil on Linen, Signed: Arthur BOYD lower right

Image size: 63.5 cm x 76.2 cm

Framed size:  89 cm x 93 cm

Exhibited:

1969 Richard Demarco Gallery Edinburgh

1973 Fischer Fine Art London (Catalogue number 14.267)

Provenance: The BOYD family collection

Price may change without a prior notice

Price:  Enquire  (85)

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SOLOMON was very young  when he become a king and he followed the good advice of his father King David. However Salomon did not know how to rule and coveted for Wisdom he wanted to learn how rule his people in a right way. In his dream he got an answers: ‘Because you have asked for wisdom and not for long life or riches, I will give you more wisdom than anyone who has ever lived. But I will also give you what you did not ask for, both riches and glory.

Fischer Fine Art gallery London
Heinrich Robert Fischer known as Harry Fischer established Fischer Fine Art in 1971. The artists showed in Fischer gallery included Arthur Boyd, John Hubbard, Michael Sandle, Brendan Neiland, Ken Kiff, Leon Kossoff, Ansel Krut, Liliane Lijn, David Hepher, Cecil Stephenson and many more. Fischer died in London in 1977. In 1996 his wife Elfriede Fischer donated The Fischer Collection to the Victoria & Albert Museum. Founded in 1852 and named after Queen Victoria and Prince Albert, the Museum is located in Kensington, London. It is arguably the world’s biggest museum of decorative arts, holding a permanent collection of over four and a half million pieces.

   

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Artist: ARTHUR BOYD 1920-1999

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

Medium: Oil on Board

Image size: 53.4 cm x 76.2 cm

Framed size:  66 cm x 87 cm

Price:  Enquire

price may change without a prior notice

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In the 40's Arthur Boyd formed  the nucleus of the Angry Penguins group with members John Perceval, Charles Blackman, Sidney Nolan, Danila Vassilieff, Albert Tucker, Joy Hester and Arthur Boyd  they were creating important paintings of the WWII expressionism.

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

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

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

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

Exhibited

1950's Zwemmer Gallery London (Zwemmer Gallery 1929-1968)

1962 Whitechapel Gallery London

1972 Fischer Fine Art (Catalogue 14.262)

1988 Hayward Gallery London

Related Works

Lovers Dreaming, Art Gallery of NSW

Persecuted Lovers, National Gallery of Australia

Brides and Lovers, Heide Museum of Modern

   

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

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

Medium: Oil on Board
Image size: 38.5 cm x 32 cm
Price:
SOLD
 

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

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

Medium: Oil on Board
Image size: 38.5 cm x 32 cm
Price:
SOLD

Artist: ARTHUR BOYD 1920-1999
Shoalhaven, 3 Cockatoos
Medium:
Oil on Board
Image size: 38 cm x 32 cm
Price: SOLD
 
SOLD - Arthur Boyd, Shoalhaven Waterfall Bather and The Elder, Oil on canvas
Artist: ARTHUR BOYD 1920-1999
Title: Waterfall, Bather, The Elder
Medium: Oil on canvas
Image size:
60 cm x 45 cm
Price: SOLD
SOLD - Arthur Boyd, Shoalhaven River Bundanon, Oil on canvas, 30.5 x 21.5
Artist: ARTHUR BOYD 1920-1999
Title: Shoalhaven River, Bundanon
Medium: Oil on canvas
Image size: 30 cm x 20 cm
Price:
SOLD

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

Image size: 3
6 cm x 30 cm
Price:
SOLD
 
SOLD - Arthur Boyd, Pulpit Rock (Shoalhaven) Oil on canvas, 82 x 82 cm
Artist: ARTHUR BOYD 1920-1999
Title: Pulpit Rock
Medium: Oil on canvas
Image size: 90 cm x 90 cm
Price: SOLD

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

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

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

Artist: ARTHUR BOYD 1920-1999
Title: Nude being Unveiled by Dog
Medium: Collage on Paper
Image
: 55 cm x 65 cm
Price: SOLD
 
Arthur Boyd, Nebuchadnezzar Windmill, Oil on Board, Image Size: 21 x 25 cm
Artist: ARTHUR BOYD 1920-1999
Nebuchadnezzar Title: Windmill
Medium: Oil on Board
Image: 19 cm x 24 cm
Price: SOLD

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

Having a long history with the BOYD family we are grateful to sell Arthur Boyd museum-quality art

signed by Arthur BOYD Arthur BOYD authorizes Galeria Aniela gallery sell of his paintings:

Arthur BOYD authorized Galeria Aniela selling his original works of art

we offer an opportunity to purchase museum-quality artworks of impeccable provenance

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

    

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

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

Tate Britain lifts the veil on BOYD bride | The Australian

      

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

Arthur BOYD Brides paintings reunited at Melbourne's Heide Museum Sydney Morning Herald 30/01/2015 Sasha Grishin

      

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

     

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

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

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


ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

PHOTO Aniela with the BOYD family and friends.       PHOTO: (1997) ARTHUR BOYD and Aniela.
Arthur Boyd regularly enjoyed visiting Galeria Aniela gallery, he admired Aniela's pioneering drive and her courage to built a gallery outside the metropolitan area.

ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art
 

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

Auction Results

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

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Sold Price Incl. BP excl. GST

Details

$1,950,000

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

$1,680,000

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

 ABC News Bride Running Away

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

$1,200,000

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

$1,200,000

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

$1,057,500

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

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

 

 

For more information visit

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

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

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Arthur BOYD Videos  

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

VIDEO (gallery site): ABC TV Australian National News

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

VIDEO gallery site: ABC Sunday Afternoon, Review

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

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

VIDEO: Record price for Arthur BOYD painting watoday.com

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

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

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

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

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

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

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

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

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

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

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Biography Arthur Merric Bloomfield BOYD 1920-1999

Arthur BOYD was a figurative expressionist painter, ceramicist, potter and printmaker from a family of artists. BOYD aimed to convey an inner emotional vision through his work, rather than describing the external world.

Arthur BOYD is considered one of Australia’s most significant modern artists was born in 1920, and was taught by his grandfather, prominent painter Arthur Merric BOYD. He served in the Second World War and his experiences influenced the subsequent themes of psychological anguish and suffering in his work.

Following the war he became friends with art patrons John and Sunday Reid. BOYD and his family lived and exhibited in London during the 1960s. He returned to Australia in the 1970s and lived at properties in Shoalhaven and Bundanon, areas which he painted until his death in 1999.

A major retrospective of his work was held in 1994 at the Art Gallery of New South Wales. BOYD received an Order of Australia in 1979 and Companion of the Order of Australia in 1992.

AWARDS

1956 Signatory to Antipodean Manifesto

1971 Britannica Award

1979 OBE, London UK

1979 Order of Australia (OA) for services to the arts

1995 Australian of the Year

Arthur BOYD painted lyrical and emotive allegories on universal themes of love, loss and shame, often located in the Australian bush. These artworks draw on a wealth of literary and mythological sources as well as intensely personal and often ambiguous symbolism. BOYD had a strong social conscience and his paintings engage deeply with humanitarian issues.

BOYD attended night classes at the National Gallery School in Melbourne in 1935 and was taught by his parents, Merric and Doris BOYD at their home in Murrumbeena, Victoria.

At age 14 he went to live with and learn from his grandfather, Arthur Merric BOYD, on the Mornington Peninsula. He was influenced by his contact with the Jewish immigrant artist Yosl Bergner, who introduced BOYD to such writers as Dostoyevsky and Kafka.

Conscripted into the Cartographic Unit of the army in 1942 during the Second World War, BOYD did not see active service, but the war supplied the subject matter for his paintings of the 1940s, which featured the crippled and wounded in turbulent settings. After the war he established the Arthur Merric BOYD Pottery Workshop at Murrumbeena, with John Perceval and Peter Herbst.

In the late 1940s BOYD turned to the Bible as a way of expressing the horror and suffering of war. Paintings such as The expulsion, 1947-48 draw on biblical narratives of punishment and depict nature as an overwhelming force controlling the individual.

During the 1940s his work went through several phases including the painting of a large mural at the home of his uncle, Martin BOYD, at Harkaway near Berwick, Victoria. A series of landscapes of north-west Victoria, a nine metre ceramic sculpture he built in Melbourne for the Olympic Games swimming pool in 1955 and he celebrated his 'Half-Caste Bride' series painted 1957-59 after an earlier visit to Central Australia.

Travelling around central Australia in the 1950s he was shocked by the conditions in which Aboriginal people were living in Alice Springs. This experience initiated the Love, marriage and death of a half-caste series of 31 paintings, also known as The bride, which imagined the figure of an Aboriginal person of mixed descent as a neglected outsider. The series was exhibited in Melbourne in 1958 where it raised contentious issues about the ongoing marginalisation of Aboriginal people.

BOYD was associated with the Antipodeans, a group of painters founded in 1959 and championed by art historian Bernard Smith, who attempted to promote figurative art at a time when abstract painting and sculpture was in the ascendancy. The group had an exhibition at the Whitechapel Gallery in London, and in 1959 BOYD relocated to London with his family, where he remained until 1971. Despite his English location, BOYD continued to depict Australian subjects, locating his allegorical and mythical scenes in Australian bush settings (Nebuchadnezzar on fire falling over a waterfall, 1966-68).

A prize winning film was made in Melbourne about his 'Half-Caste Bride' series by Tim Burstall and Patrick Ryan in 1959. During the 1960s he lived mostly with his family in London, exhibited widely and established an international reputation including a Romeo and Juliet ceramic Triptych in 1964 to honour Shakespears's 400 year anniversary.

In 1971 he returned to Australia, eventually settling at Bundanon on the Shoalhaven River in New South Wales where he continued to paint landscapes. His Australian scapegoat paintings of the 1980s explored constructions of Australian identity in the lead up to the bicentenary of the arrival of the First Fleet in 1988. With their violent imagery and aggressive colouring they draw on archetypes of Australian military history to suggest the futility of war. In addition to painting, BOYD worked prolifically in ceramics, designed sets for the theatre, and provided illustrations for the poems of Australian poet Peter Porter.

During 1971-72 for six months at ANU, Canberra, as a resident Fellow in Creative Arts.

In 1975 he presented a large collection of sculptures, etchings and paintings to the ANG Canberra and in 1984 was commissioned to design the tapestry for the reception hall at new Parliament House, Canberra. Worked in UK for part of 1989-90.

EXHIBITIONS

Arthur BOYD held many one-man shows in Australia and overseas over the years including Zwemmer Gallery, London

1958  Venice Biennale and Australian Painters

1964-66 Exhibition (Mertz Collection) Corcoran Gallery

1962 Retrospective shows at Whitechapel Gallery, London

1967 Washington DC USA

1969 Demarco Gallery, Edinburgh

1971 ANU Canberra 1971-72 and Skinner Gallery Perth

1973,80,83,86 Fischer Fine Art UK

1978,8 Rudy Komon Gallery

1979 Fremantle Arts Centre

1976,81,82,(retro),85,87 Australian Galleries Melbourne 

1982 Qld. Uni. Art Museum

1983 Hong Kong Arts Centre, Hong Kong

1984,87 Wagner Gallery

1984 AGSA

1984,88 BMG Adelaide

1984 Tokyo and Kyoto, Japan (Wagner Gallery)

1986,87,89von Bertouch, Newcastle 

1985 Works Gallery, Geelong

1985 Solander Canberra

1985 Holdsworth 1

1988 HPAC

1988 & 89(retro) BMG Sydney

1989 Wagner Gallery

1978 'Landscape and Image', Australian Gallery Directors Council Travelling Exhibition to Indonesia

1985 Smithsonian Institute, Washington DC

1988 Commonwealth Institute, London

1988 Venice Biennale

1987 Australian Consulate General, Los Angeles

1993 a major retrospective of BOYD’s work was held at the Art Gallery of New South Wales

1993 Arthur and his wife Yvonne gifted their property Bundanon, comprising of 1,100 hectares, to the Australian people.

1997 'Best of BOYD Galeria Aniela fine art gallery NSW

 
Shoalhaven River EscarpmentPlease Scroll Down for more details
Arthur Boyd (1920-1999), Shoalhaven River Escarpment c.1970-75, Oil on Board, 36 cm x 30 cm

Artist: Arthur BOYD 1920-1999

Title: Shoalhaven River Escarpment circa 1975  Signed lower right: Arthur BOYD

Medium: Oil on Board

Image size: 36.5cm x  31 cm

Framed: 64 cm x 57 cm

Price may change without a prior notice

price click here  /  Enquire 

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Related Works Shoalhaven River Escarpment

Price excl. GST Image size Details
$70,760  30 x 19.5 cm Shoalhaven River (1976) - sold June 2020, by Smith & Singer
$59,999 35 x 28 cm Blackbirds Shoalhaven Riverbank (1985)
$47,500 29x 23.5cm Shoalhaven Riverbank sold by Menzies
$47,196  30 x 38 cm Shady Riverbank - Shoalhaven
$43,470 26.5 x 33cm

Evening on Shoalhaven sold  by Deutscher&Hackett

 

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

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

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

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

   

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

About Shoalhaven series 

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

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

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

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

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

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

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

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

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

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

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

"BOYD'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, large forms of a crowd and the beauty of the natural world.

Above the garish human turmoil rises the impressive, timeless riverbank.

Luminous cumulus clouds scud across the deep blue sky.

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

 

Arthur BOYD Shoalhaven Series of paintings

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

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

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

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

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

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

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

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

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

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

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

Artist: Arthur BOYD 1920-1999

Title: Shoalhaven at Sunset circa 1975-78, Signed 'ARTHUR BOYD' lower right

Boyd exhibited Oil on Copper artworks at Australian Galleries in 1976 and Fischer Fine Art London in 1977. Now these exquisitely painted highly valued, rare gems are keenly sought after in world Art market.

Medium:  Oil on Copper / Rose Madder

Image size: 60 cm x 45 cm

Framed size: 95 cm x 80 cm

Price here  or  Enquire   

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

 

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

Price excl. GST Image Size Details
$166,220 (£73,500) 30.5 x 21.5cm Forest with Boulders Oil on copper sold by Christie's London
$156,000 30.7 x 24.3 cm Timbered Rock Face Oil on copper sold by  Sotheby's
$144,120.00 (£91,250) 63.5 x 50.8 cm Shoalhaven Broken Cliff Oil on copper sold by Christie's
$114,115.00 (£50,460) 30.9 x 21.6cm Forrest circa 1976 Oil on copper sold by Christie's London
Est. $110,000 + 25% 60.5 x 43.5cm Shoalhaven at Sunset Oil on copper  Lawson-Menzies
$179,250

90 x 60 cm

Clay Rockface at Bundanon, canvas sold by Christies

$156,000

91 x 60.5 cm

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

Price change without a prior notice 

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

Rose Madder colour

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

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

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

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

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

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

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

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NOTES Shoalhaven Escarpment and Shoalhaven at Sunset 1976-78

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

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

 

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

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

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

 

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

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

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

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Oil on Copper
How to paint on raw copper plate

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

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

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

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

How to prepare copper plate for painting with oils

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

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

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

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

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

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

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

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

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

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

challenges archival oil-on-copper-plate painting technique

Smooth slippery surface

Flexing of the metal

An unwavering brush

Humidity

Quickly drying paint

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

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

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

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

Artist: Arthur BOYD 1920-1999

TitleShoalhaven River Escarpment with Trees (1980)  Signed Lower right  'ARTHUR BOYD'

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

Medium: Oil on Board 

Image size: 31 cm x 21 cm

Framed Size: 65 cm x 56 cm

Price   may change without a prior notice  Enquire

Shipping worldwide usually or Pick Up from Galeria Aniela

 

Related Works River with Clouds

Price excl. GST Image size Details
$70,760  30 x 19.5 cm Shoalhaven River (1976) - sold June 2020, by Smith & Singer
$59,999 35 x 28 cm Blackbirds Shoalhaven Riverbank (1985)
$47,500 29x 23.5cm Shoalhaven Riverbank - sold by Menzies
$47,196  30 x 38 cm Shady Riverbank Shoalhaven
$43,470 26.5 x 33cm

Evening on Shoalhaven - sold  by Deutscher&Hackett

$41,480 30.5 x 20cm

Shoalhaven Riverbank - sold by Deutscher&Hackett

$41,480 30.5 x 19.5cm

Shoalhaven River Cockatoo - sold by Deutscher&Hackett

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