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Founded in 1994, Galeria Aniela won the trust of some of the most important artists from the post WWII until today. The renowned BOYD family held their first group family exhibition on site that coup the front page Sydney Morning Herald, Australian National NEWS, the ABC TV BOYD video and Sunday Afternoon, the ABC TV video, international books, luxury magazines, videos and other media. Galeria Aniela built a reputation in Australia and the wide World selling fine art of impeccable provenance and quality, shipping worldwide.

John Perceval Retrospective won Australian National NEWS, the ABC TV video, Charles Blackman Retrospective attain Art Scream, the SBS TV video and Minnie Pwerle 1998 masterwork conquer Australian National Curriculum 2015, acknowledgments to the AAA © Estate of the artist, credits Galeria Aniela.

Sir David Attenborough Naturalist pioneer, the third-longest-serving Prime Minister of Australia Hon. Bob Hawke and Cameron O’Reilly Deputy Chairman, National Gallery of Australia have been supporting gallery Exhibitions.

For over 25 years Galeria Aniela continue showcasing significant contemporary Australian artists work, extensive gallery stock include Arthur Boyd, Jamie Boyd, Lenore Boyd, Charles Blackman, John Perceval, John Olsen, Billy Stockman, Mrs. Bennett, Ningura Napurrula, Stephen Glassborow and more.

Arthur Boyd page
Arthur Merric Bloomfield BOYD 1920-1999

If you love Fine ART of impeccable provenance the ART you want is at Galeria Aniela, shipping worldwide, Testimonials

AWARDS     Auctions     Biography     Brides      Graphics     Videos


Arthur Boyd (1920-1999) is one of the most important artists from the post-WWII up until today. AWARDS: 1956 Signatory to Antipodean Manifesto, 1971 Britannica Award, 1979 OBE London UK, 1979 Order of Australia, 1995 Australian of the Year. Arthur BOYD is considered one of Australia’s most significant modern artists. Arthur Boyd paintings are highly sought after Drowned Bridegroom fetched $1,952,000, Bride Running Away $1,680,000 and Sleeping Bride $1,586,000.

an opportunity to purchase museum-quality art of impeccable provenance

Artist: Arthur BOYD 1920-1999
Title:
Solomon
1960 ENLARGE
Medium: Oil on Linen
Image sizes: 63.5 cm x 76.2 cm
Framed size:  89 cm x 93 cm
Price: Enquire 

Artist: ARTHUR BOYD 1920-1999
Title:
Lovers dreaming Summer Night
c. the 40's ENLARGE
Medium: Oil on Board
Image size: 53.4 cm x 76.2 cm
Framed size:  66 cm x 87 cm
Price:
 Enquire 
In the 40's Arthur Boyd formed the Angry Penguins group, members John Perceval, Charles Blackman, Sidney Nolan, Danila Vassilieff, Albert Tucker, Joy Hester and Arthur Boyd  creating important paintings of the WWII expressionism.
REvTrees Price

Artist: ARTHUR BOYD 1920-1999
Title:
River Escarpment ENLARGE
Medium: Oil on Board
Image size:
31 cm x 21.2 cm
Framed size:
 65 cm x 56 cm
 Price: $35,000 Enquire
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 Sunset
Enlarge
Medium: Oil on Copper
Rose Madder
Image size
: 60 x 45 cm
Framed size:
95 x 80 cm
Price: $110,000 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
Enlarge
Medium: Oil on Board
Image size
:
36.5 x 31 cm
Framed size:
64 x 57 cm
Price: $48,000 Enquire

 In 2010 Google rework their company's logo inspired by Shoalhaven at Sunset painted in Rose Madder


Artist: ARTHUR BOYD 1920-1999
Title: Bride with Necklace Enlarge
Medium: Oil on Board
Image
: 30 x 20 cm
Framed:
65 cm x 56 cm
Price:
NFS Enquire

Artist: ARTHUR BOYD 1920-1999
Title: Bride, Serpent
Enlarge VIDEO
Medium: Oil on Canvas
Image
:
122 x 94 cm

Framed: 150 x 122 cm
Price:
NFS 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
Unframed

Price:
SOLD

VIDEO Australian National News ABC TV BOYD Galeria Aniela

VIDEO Sunday Afternoon ABC TV Galeria Aniela


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

Prices subject to change without notice  -  Shipping worldwide or Pick Up from Galeria Aniela


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
Prices subject to change without notice
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 honoured to show museum-quality art

In 1995 Arthur BOYD has authorized Galeria Aniela to sell his original paintings.
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
BOYD Brides Heide Museum of Modern Art - Broadsheet BOYD Brides at Heide

 

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

Arthur BOYD Bride series, The Australian 31 January 2015
 

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

Heide launches biggest exhibition of Arthur BOYD's Bride paintings ever seen ABC Radio National 3/12/2014
   

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.

Aniela was deeply honored to be a friend with the artist. Arthur BOYD regularly visited Galeria Aniela gallery. The artist enjoyed Aniela's European charm and admired her pioneering courage to build a fine art gallery outside the metropolitan area in a paddock.

Jamie BOYD (B.1948) is the most important living artist of the BOYD family, his work is represented worldwide collections Queen Victoria Museum England, The Tavistock Centre London, National Gallery of Victoria, The Tavistock Centre London, Bundanon Trust Collection, University of South Australia, University of Western Australia


ARTHUR BOYD Brides Exhibition at Heide Museum of Modern Art

We offer an opportunity to purchase original art of impeccable provenance 


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

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Price BP excl. GST

Hammer

Details

A$1,950,000 A$1,600,000

Drowned Bridegroom (1959), Oil and tempera on composition board, signed 'Arthur Boyd' lower right, 122 x 182.8 cm, Est: $1,600,000-1,900,000, Sotheby's, Important Australian Art, Sydney, 28/08/2018, Lot No. 20

A$1,680,000

AU$1,400,000

Bride Running Away (1957) Oil and tempera on composition board, signed 'Arthur BOYD' lower left, 91.5 x 121.5 cm, Est: $1,400,000-1,600,000, Sotheby's Australia, Important Australian Art, Melbourne, 14/08/2012, Lot No. 19

A$1,200,000

AU$1,000,000

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

A$1,200,000

AU$1,000,000

Dry Creek Bed, Alice Springs (1953-1954)  Oil, tempera and resin on composition board, signed 'Arthur BOYD' lower left, 91.5 x 122 cm, Est: $1,000,000-1,200,000, Sotheby's Australia, Important Australian Art, Sydney, 08/05/2012, Lot No. 20

A$1,057,500

AU$900,000

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

A$1,037,500

AU$900,000

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

For more information on the auction results it may be worth your while to acquire a membership at http://www.aasd.com.au/

under the 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.

Wikipedia

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

http://www.google.com.au/

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

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Galeria Aniela aim to be a place of experience and inspiration

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 and opinion 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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Lovers dreaming of a Summer Night

Artist: ARTHUR BOYD 1920-1999
Title:
Lovers dreaming of a Summer Night, 1940's 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

In the 1940's Arthur Boyd formed the nucleus of the Angry Penguins movement the early Australian exponents of surrealism and 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.

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

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.

Shipping worldwide usually dispatched within 24 hours, delivery in 3-5 business days or Pick Up from Galeria Aniela.

   

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Solomon

Artist: Arthur BOYD 1920-1999
Title:  Solomon circa 1960
Medium: Oil on Linen
S
igned: Arthur BOYD lower right
Image sizes: 63.5 cm x 76.2 cm
Framed:  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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We aim to be a place of experience and inspiration exhibiting international and Australian art

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 c. the 70's  Signed lower right 'Arthur BOYD'

Shoalhaven River Escarpment is Arthur BOYD important, exquisite, rare work, painted with great attention to details in remarkably clear tones.

Medium: Oil on Board

Image size: 36.5cm x  31 cm
Framed: 64 cm x 57 cm

Related Works: size Price excluding GST
Blackbirds Shoalhaven Riverbank (1985) 35 x 28 cm $59,999

Joel Fine Art

Shoalhaven Riverbank 29 x 23.5 cm $47,500 Menzies
Shady Riverbank - Shoalhaven 30 x 38 cm

$47,196

Sotheby's

 

Price   may change without a prior notice    Enquire

 

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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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We offer an opportunity to purchase museum-quality art of impeccable provenance, visit gallery or call +612 4465 1494

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 c. 1975-78  Signed lower right 'ARTHUR BOYD'

Medium: Oil on Copper - Rose Madder paint

Boyd exhibited Oil on Copper at Australian Galleries (1976) and Fischer Fine Art London (1977). Now these exquisitely painted works are rare gems, highly priced and keenly sought after the World Art market investors.

size: 60 x 45 cm
FRAMED: 95 cm x 80 cm

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

Related Works: Oil on copper oil-on-copper-pink

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

Size

Sold Price incl. BP excl. GST

Clay Rockface at Bundanon  

90 x 60 cm

$179,250 Christies

Boat on the Shoalhaven (1981)

91 x 60.5 cm

$156,000 Deutscher&Hackett   Lot. 53

 

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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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Galeria Aniela presents international and Australian art in our gallery showrooms located in one of the most beautiful locations in the world and a top 10 holiday destination in Australia

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 

size: 31 cm x 21 cm
Framed: 65 cm x 56 cm

Related Works size Price excluding GST
Shoalhaven Riverbank 29 x 23.5cm $47,500 Menzies
Evening on Shoalhaven 26.5 x 33cm

$43,470

Deutscher&Hackett
Shoalhaven River & Crane 30 x 19.7cm

$40,800

Sotheby's
Shoalhaven Riverbank 30.5 x 20cm

$41,480

Deutscher&Hackett
Shoalhaven River Cockatoo 30.5 x 19.5cm

$41,480

Deutscher&Hackett
Shoalhaven 1975 25.1 x 20.7cm

$40,260

Sotheby's
Shoalhaven Hillside 30.5 x 23cm $36,600 Sotheby's

 

Price   may change without a prior notice  Enquire

 

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Jamie BOYD (B.1948) is the most important living artist of the distinguish BOYD family, he is represented worldwide including Queen Victoria Museum Gallery England, The Tavistock Centre London, National Gallery of Victoria, The Tavistock Centre London, Bundanon Trust Collection, University of South Australia, University of Western Australia.

Bride Drinking from Shoalhaven River Please Scroll Down for more details
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Artist: Arthur BOYD 1920-1999

Title: Bride with the Necklace drinking from from Shoalhaven River with Pulpit Rock c.1970-75

Bride's Necklace is precious Jewels, symbolizing the GIFT that the artist donated to Australia

Arthur BOYD gift of the Bundanon properties on Shoalhaven River and collections has given Australia a unique cultural and environmental asset. 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, near Nowra in NSW, t2 hours of Sydney.

Medium: Oil on Board

Signed lower right: Arthur BOYD

Image sizes: 30.6 cm x 20.8 cm

Framed: 65 cm x 56 cm

Provenance: The BOYD family collection

Price may change without a prior notice  Enquire

 

Related Works:

Bridegroom Waiting for Bride to Grow Up, Oil on board 31x38 cm $268,400 Sotheby's 11/05/2016
Persecuted Lovers - Study, Known as Lovers, Oil on board 25.3x30.5cm

$244,000

Bonhams 07/06/2016
Bride Over Shoalhaven 1980, Oil on Paper 24x27.5cm

$53,680

Sotheby's 10/05/2016

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Arthur BOYD beautiful 'Bride' paintings are rare and among his finest, a beautiful powerful figure of BOYD imagery.

BOYD 'Brides' are in major public collections: Tate Gallery LondonNational Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia confirm the stature of Arthur BOYD legacy in Australian and international art.

Arthur BOYD, Bride Running Away, Sotheby's Sold for $1,680,000 (5/08/2012) and 'The Frightened Bridegroom' SOLD for: $1,200,000 (23/08/2011)

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

On the background of the Pulpit Rock ‘The Bride’ descends to Shoalhaven River to drink water.

The symbolism of water has a universal undertone of ‘purity and fertility’ and is often viewed as the source of life itself. Symbolically water means Transformation, Subconscious, Fertilization, Purification, Reflection, Intuition, Renewal, Blessing, Motion and Life.

The Bride, associated with love, beauty and fertility is wearing a 'Necklace'. The ‘necklace’ symbolizes the beauty and look of wealth.

Bride's Necklace is precious Jewels, symbolizing the GIFT that the artist donated to Australia.

Necklace believed to hold the power and resembles growth and new beginnings. But also, more spiritually, a Necklace stands for; nurturing and growth, awakening and positive change. Historically a necklace has cultural significance to commemorate ancestors and honour the stories.

The painting ’Bride with Necklace drinking from Shoalhaven River’ is characteristically BOYD painted with great attention to details and superb tone of colour and texture.

It is one of BOYD's most beautiful small Brides paintings of 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.

Galeria Aniela presents an opportunity to purchase a museum-quality art of impeccable provenance the World Art Market offers to International and Australians collectors.

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Brilliantly executed, Bride paintings, carry expression of human conscience, magical ambiance, and the voice of understanding. Galeria Aniela offers an opportunity to purchase museum-quality original art of impeccable provenance.

Bride and SerpentPlease Scroll Down for more details

Artist: Arthur BOYD 1920-1999

Title: Bride and Serpent

Arthur BOYD hauntingly beautiful Bride paintings are among BOYD's finest works. The presence of a Bride painting often seen major public collections confirm the stature of Arthur BOYD legacy in Australian and international art. Tate Gallery LondonNational Gallery of Victoria, National Gallery of Australia, and more.

Signed:  ARTHUR BOYD lower right

Medium: Oil on Canvas

Image size: 122.5 cm x 93.5 cm

Framed: 150 x 122 cm

Exhibited:

1995 Bundanon Trust filmed by Australian National Nine Network TV Channel Nine

1995 (televised 13-10) Burke of Burke's, Burke's Backyard and Australian National TV Channel Nine

1997 Galeria Aniela Best of BOYD Exhibition opened by Cameron O'Reilly Chairman NGA

1997 VIDEO the Australian National NEWS ABC TV at Galeria Aniela

1997 VIDEO the Australian National Sunday Afternoon ABC TV at Galeria Aniela

1997 BOYD exhibition coup the  Front page Sydney Morning Herald (17/05/1997)

2005 The Art Lounge Gallery, Sydney, Edmund Capon Director Art Gallery of New South Wales

 

Price may change without a prior notice  Enquire

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contact gallery for shipping assistance or Pick Up from Galeria Aniela.

 

Related Works:

Bride Running Away (1957) Oil tempera on board, 91.5 x 121.5 cm, Sotheby's Melbourne, 14/08/2012

$1,680,000

Sleeping Bride, Oil on Canvas, 91.5 x 122 cm, Sotheby's, Sydney, 24/11/2015

$1,586,000

The Frightened Bridegroom (1958) Oil tempera on board, 61.7 x 63.5 cm, Sotheby's Sydney, 23/08/2011

$1,200,000

Bridegroom Waiting for His Bride to Grow Up, tempera on board, 137.2 x 182.9 cm, Christies, 27/11/2001

$1,057,500

Phantom Bride 1958  Oil tempera on board,162.5 x 139.5 cm, Deutscher~Menzies, Melbourne, 01/05/2002 $1,037,500
Bride in a Cup 1959, Oil on board, 90.5 x 120 cm,  Sotheby's,  Sydney, 28/04/2015 $823,500
Bridegroom Drinking from a Creek II 1959, Oil on board, 60.4 x 80.5 cm, Bonhams,  Sydney, 26/06/2013 $732,000
Bride and Bridegroom with Rainbow 1960, Oil on Board, 91 x 122 cm,  Deutscher~Menzies, Sydney, 18/03/2008 $660,000
Bride in the Moonlight Turning Into a Windmill, 1960, Oil on board, 91.5 x 122 cm Menzies Melbourne, 23/03/2016 $417,272

   

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About Arthur BOYD 'Bride series'

In 1951 30-year-old Arthur BOYD travelled to Central Australia where he witnessed the strained relationships between indigenous Australians and white Australians. In Persecuted lovers, a painting from the series Love, Marriage and Death of a Half-Caste 1957–58 a rifleman takes aim on two lovers with silent murderous anticipation.

In 1957, Arthur BOYD developed his first series of Bride images, known more formally as Love, Marriage and Death of a Half-caste. The early works in the series had as their focus the relationship between Australia's white and indigenous occupants. By the 1960s, however, this earlier political emphasis had changed: BOYD's attention was fixed more on the subject of the bride in the landscape.

In his 1960s images, BOYD frequently combined the motif of a bride drinking from a river with another favoured visual trope "the diagonally plunging figure with the bridal gown flared-out and bell-shaped there is a play with the poetic ambivalence of metaphoric associations: the drinking bride is insect-like, as is the washing figure, not spider now but rather dragonfly or butterfly, a white bridal insect lost and watched in wild solitude." (F. Phillipp, Arthur BOYD, London, 1967, p.100).

The bride's appearance in Bride on the Shoalhaven is reminiscent of these works from the 1960s, particularly Bride Drinking from a Pool. Nevertheless, in Bride on the Shoalhaven, painted in the mid-1980s, the wild solitude of BOYD's 1960s landscape has lightened, becoming less embedding of the figure it surrounds: a shift perhaps prompted by BOYD's acquisition of his beloved Bundanon.

The artist first visited Bundanon, a property located on the Shoalhaven River on the south coast of New South Wales, in 1971. BOYD felt an immediate affinity with the area and in 1973 purchased the nearby property of Riversdale, subsequently acquiring Bundanon in 1979.

The canvas follows a format familiar to BOYD's Shoalhaven paintings of the mid-1970s, with the surface broken up into horizontal bands containing cobalt blue sky, the steep slope of the riverbank and the river. The disparate elements are linked by both the textural application of the paint, as well as the immense figure of the bride, who swoops, bird-like, into the water. Her vertical movement is replicated by the trunks of the trees, which divide the canvas by stripes of white, grey and taupe.

 

 

the Sydney Morning Herald Front page (17 May 1997)

The Best of BOYD Exhibition coup the front page Sydney Moring Herald, Sydney, NSW Australia

Galeria Aniela offers buyers an opportunity to purchase top-quality authentic works of art of impeccable provenance

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

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

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

 

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

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

 

When Arthur BOYD visited the desert regions of Central Australia in 1951, he could hardly have imagined that paintings resulting from that experience would, within the decade, be shown in a London gallery; purchased by Australian, British and American collectors; and become the basis of his international recognition. His work is now represented in the Australian national and all state galleries and his 'Bride' series, which includes Bride walking in a Creek I, is ranked among his greatest achievements.

Born in 1920 in Melbourne, into a dynasty of artists, Arthur BOYD enrolled intermittently at the National Gallery of Victoria's art school during the 1930s, he learnt primarily from his family and their wider intellectual circle in Melbourne: painting techniques, art history, biblical history and an intense emotional engagement with news brought from Europe by immigrant friends.

Arthur BOYD was deeply moved by stories of displacement and dispossession. Austrian-born fellow artist Josl Bergner had fled pre-War Europe in 1937. The art historian Franz Philipp, an early supporter of BOYD's work, arrived in Australia aboard the prison ship Dunera: one of over 2000 German and Austrian interns sent from Britain in 1940. BOYD himself served briefly and unhappily in the Australian army during the Second World War.

Then, as his biographer Barry Pearce explains, BOYD found in the Aboriginal settlements near Alice Springs, in Central Australia, a race of displaced people, caught between two cultures, 'and the implication in it of something universal'. He saw and sketched shanty towns, shearers, tribes people, and witnessed an Aboriginal marriage with 'half-caste' women dressed in wedding gowns.

 

Although profoundly dismayed by the plight of the Aboriginal people he met in the Northern Territor and aware that this was a contemporary tragedy unknown to most urban Australians, BOYD was not known in making a social-realist record. Rather, he took the idea of a half-caste groom wooing a half-caste bride, worked it into a series of large scale paintings and constructed a kind of ballad or a 'passion play about the tribulations associated with the pursuit of love'.

   

Originally Arthur BOYD 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.