The Estate of David Boyd OAM- Artmarketspace auction catalogue

WORKS FROM THE ESTATE OF DAVID BOYD OAM (1924–2011) Auction | Sunday 29 March 2020

BOARD OF DIRECTORS Campbell Newman Chairman Lee Steer CEO Andrew Greig Director

1800 952 948 www.artmarketspace.com

WORKS FROM THE ESTATE OF DAVID BOYD OAM (1924–2011) Auction | Sunday 29 March 2020

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SYDNEY VIEWING

MELBOURNE VIEWING

36-40 Queen Street Woollahra NSW 2025

409 Malvern Road South Yarra VIC 3141

Friday 28 February 11am–5pm Saturday 29 February 11am–5pm Sunday 1 March 11am–5pm

Friday 27 March Saturday 28 March Sunday 29 March

Special Attraction

Special Attraction

Meet the artist’s grand-daughter Jesamine Boyd at the viewing of the works in Sydney

Meet the artist’s grand-daughter Jesamine Boyd at the viewing of the works in Melbourne

Saturday 28 February 3pm–5pm

Saturday 28 March

11am–5pm 11am–5pm 11am–5pm

3pm–5pm

AUCTION Sunday 29 March 2020 at 5pm AEST online at artmarketspace.com Pre-register now to bid at www.artmarketspace.com or register at the viewings All auction enquires: Lee Steer 0414 471 537 lee@artmarketspace.com

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David Boyd OAM (1924-2011) David Fielding Gough Boyd was born into an artistic dynasty at Murrumbeena, Victoria on 23rd of August 1924 and was the youngest of three sons to Merric Boyd and Doris Boyd nee Gough. As a young man Boyd studied painting and pottery and music and was very talented in all these disciplines. At the age of 17, he attended the Melba Conservatorium of Music in Melbourne for advanced piano tuition. However, in 1942, once he turned eighteen, Boyd was conscripted into the Australian army and was forced to give up his studies. After his discharge from the army in 1944, Boyd received an ex-serviceman's grant to study piano at the Melbourne University Conservatorium of Music. However he found study difficult and struggled with the formal methods of learning. He was possibly still suffering from the distressing effects of war.

Although Boyd loved music and spent hours at the piano improvising, he felt that he was not cut out to be a professional performer or composer. He decided to take up painting and transferred his ex-serviceman's scholarship to the Melbourne National Gallery Art school, where he studied from 1945 to 1946.

During this period, Boyd painted his Soul series, as well as some ‘plein-air’ landscapes for his first two exhibitions with his friend John Yule at the Rowden White Library, University of Melbourne.

Unfortunately none of his early efforts succeeded in impressing critics.

While his teachers at the National Gallery School found him talented, he was highly individual and difficult to teach. Altogether these difficulties and failures caused Boyd to feel that he had made a bad start at painting and should give it up.

David Boyd's father, Merric, was a pioneer of Australian pottery. Influenced by his father and with skills learnt in early childhood, Boyd then decided

Left: Murrumbeena 1956

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Family, Sydney 1958

to concentrate on ceramics. These early works demonstrate his father's influence, but Boyd quickly developed his own individual style, alongside his wife, fellow artist Hermia Lloyd-Jones, whom he had married in 1948. Their partnership was fruitful, with the pair quickly finding critical acclaim both in Australian and Internationally from the mid-1940s until the beginning of the 60s.

Eventually, pottery led Boyd back to his original artistic exploits, when a series of ceramic tiles that dealt with biblical themes and explorers, convinced him to re-try his hand at painting. A series of paintings based on the Australian explorers from his tiles were the theme of his first solo exhibition in 1957.

In 1959 David Boyd was a signatory to the Antipodean Manifesto whose charter was to assert the importance of figurative art when they felt that this art form was under attack from very progressive modern art and particularly abstraction. David Boyd participated in the subsequent exhibition: ‘Antipodeans’ at The Victorian Artist Society from August 4-August 15 1959.

The Antipodean Group, as they became known, included John Brack, Charles Blackman, Clifton Pugh, John Perceval, Robert Dickerson and the artist’s brother Arthur Boyd. This was a landmark exhibition. Through this exhibition Boyd explored a number of themes that evolved as significant series, including the powerful Trial works, the Tasmanian Aborigines, the Wanderer and Exiles series.

South of France C1970

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The Trial series was continued while Boyd lived in Rome in 1962, before settling in London, and was also the theme of his successful first one-man shows in London and Paris in 1963.

In 1960 David Boyd was elected President of the Contemporary Art Society (Victorian branch) and Councillor of the Museum of Modern Art of Australia.

This recognition was followed by his winning first prize in the Italian Art Scholarship for Australia and becoming chairman of the Federal Council of the Contemporary Art Society of Australia, both in 1961.

After living in Italy, England, France and Spain during most of the 60s and the early 70s, Boyd finally returned to Australia permanently in 1975.

Boyd's paintings were primarily produced in series, each of which took a concept or a theme that, with his fertile imagination, he explored extensively.

As a dedicated figurative artist, Boyd drew his themes and inspiration from the world around him, especially focusing on those that arise from oppression and injustice.

As a grandpa David would often talk to my sister Cressida and myself at length about the nature of humans to want to use punishment as vengeance and so he wanted us not just to believe his often passionately spoken word about the nature of human in his paintings, but he wanted us to come to our own belief and understanding of what it is to be human.

Boyd has often been referred to as a moral painter, although his intention was not to teach, but rather to illuminate the troublesome areas of the human psyche and to tell a truthful and often uncomfortable history.

We didn’t think he wanted us to believe he was perfect in his understanding of human frailty, but in our eyes he was the perfect grandpa – supportive, warm and generous of spirit; wise and understanding of our imperfections and I always felt that he believed we were capable of achieving anything.

Jesamine Boyd St Peters, Sydney 2008

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DAVID BOYD OAM (1924–2011)

DAVID BOYD OAM (1924–2011)

Judge Hiding his face in a nosegay

Europa capturing a silver-crested cockatoo

oil on board signed lower left and dated 1992 lower right and titled to verso 32 x 24cm

oil on board signed lower left and titled to verso and dated circa 1994 29 x 24cm

$7,000–10,000

$4,000–6,000

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DAVID BOYD OAM (1924–2011) Dying Executioner oil on canvas signed lower left and titled to verso 60 x 75cm $8,000–12,000

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DAVID BOYD OAM (1924–2011)

DAVID BOYD OAM (1924–2011)

The Big Horn

Kneeling woman untangling the legs of a judge

oil and ink on paper signed lower middle and titled to verso 78 x 74.5cm

oil on board signed lower left and titled to verso 90 x 80cm

$4,000–6,000

$8,000–12,000

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DAVID BOYD OAM (1924–2011) Flinders Ghost collograph by Lewis Editions signed and titled and numbered 34/45 in pencil to margin image size 60 x 80cm $2,000–3,000

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DAVID BOYD OAM (1924–2011) Flinders Ghost collograph by Lewis Editions signed and titled and numbered 35/45 in pencil to margin image size 60 x 80cm $2,000–3,000

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DAVID BOYD OAM (1924–2011) Judge peering at his own reflection oil on canvas signed and dated 1988 lower right and titled to verso 70 x 80.5cm $15,000–20,000

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DAVID BOYD OAM (1924–2011) The Kite flyer oil on canvas signed and dated 1994 lower left and titled to verso 121 x 137cm $10,000–15,000

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DAVID BOYD OAM (1924–2011) Clown in the Tree oil on canvas signed and dated lower left and titled and dated 1991 to verso 122 x 137cm $14,000–18,000

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DAVID BOYD OAM (1924–2011) The Island oil on board titled to verso “The Island from the Garden in the Wilderness” in the artists hand signed and dated 1979 lower left 90 x 114cm EXHIBITED

Von Bertouch Galleries Newcastle Label to verso where it is titled the Island and numbered 29 $16,000–22,000

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DAVID BOYD OAM (1924–2011) Still life of driftwood with judge’s wig and passing cockatoos oil on board signed lower left and dated 1996 122 x 122cm $7,000–10,000

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DAVID BOYD OAM (1924–2011) Judge in a Paperbark Tree oil on canvas signed lower left and dated lower right titled and dated 1986 to verso 90 x 113cm $18,000–25,000

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DAVID BOYD OAM (1924–2011) Judge Escaping oil on board signed lower left and dated lower right 1993 and signed and titled to verso: From the collection of David and Hermia Boyd 92 x 101cm $8,000–12,000

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DAVID BOYD OAM (1924–2011) The Dream (Wanderers dream) oil on canvas signed and dated 1970 lower left and titled to verso 78 x 98cm $16,000–20,000

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DAVID BOYD OAM (1924–2011) Hanging Judge-menaced by a bird with a golden eye and a fish with a silver tooth oil on canvas signed lower left and titled to verso 91 x 102cm $18,000–24,000

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DAVID BOYD OAM (1924–2011) Snail with tree of fire oil on canvas signed lower left and dated 1991 lower right and titled to verso 76 x 101cm $8,000–12,000

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DAVID BOYD OAM (1924–2011) Europa's Daughter capturing a cockatoo from a bed of blue roses with the tree of fire and the spirit of the cockatoos oil on board signed lower left and dated 1999 and signed and titled and dated to verso 90 x 100cm $10,000–15,000

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DAVID BOYD OAM (1924–2011) Metaphors of Trial oil on board signed lower left and titled to verso 80 x 90 cm $7,000–10,000

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DAVID BOYD OAM (1924–2011) Mother Beasts Attacking oil on canvas signed lower left and dated lower right and titled to verso 97 x 130cm $20,000–30,000

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DAVID BOYD OAM (1924–2011) The Sign, Metaphors of Trial oil on board signed lower left and titled to verso 90 x 100cm $8,000–10,000

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DAVID BOYD OAM (1924–2011) Tall Ships Returning 1988 oil on canvas signed and dated 1988 and titled to verso 100 x 120cm $25,000–35,000

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DAVID BOYD OAM (1924–2011) Europa in Australia, The stolen crest oil on board signed and dated lower left 120 x 120cm $12,000–18,000

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DAVID BOYD OAM (1924–2011) The wilting nosegay oil on board signed and dated 1993 lower left and titled to verso 90 x 80cm $8,000–12,000

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DAVID BOYD OAM (1924–2011) The Eternal Return II oil on canvas signed and dated 2001 lower right and signed, titled and dated to verso 69 x 80cm $5,000–8,000

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DAVID BOYD OAM (1924–2011) Doris in Merrick's Tree and her white horse oil on board signed lower left and dated 1989 lower right and titled to verso 75 x 90cm $10,000–15,000

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DAVID BOYD OAM (1924–2011) The Awakening oil on board signed lower left and titled and dated 1997 to verso 90 x 75cm $8,000–12,000

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DAVID BOYD OAM (1924–2011) Black Spirit Rising II signed lower left and titled to verso oil on canvas 90 x 90cm $8,000–12,000

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DAVID BOYD OAM (1924–2011) Retribution and Mercy oil on board signed lower left and dated 2002 lower right and titled to verso 60 x 58cm $7,000–10,000

David Boyd, when a member of the famed Antipodean Group, created an important series of works in 1959/60 that told the brutal story of the plight of indigenous Tasmanians in the 19th century, with a particular focus on the last full blood indigenous Tasmanian – Truganini (Lalla Rhook).

In the course of this, Boyd spent considerable time researching Tasmanian history. At the same time, high profile headline news stories

told of the imprisonment of Albert Namatjira and the murder trial (and subsequent Royal Commission) of indigenous man Rupert (Max) Stuart in South Australia. The dramatic stories and social history that flow in and out of the law courts, created a rich intellectual source for Boyd.

Thence started a lifelong interest for him in aspects of the legal system particularly justice and the natural law. Perhaps better put in the context of Boyd’s historical subject matter – the theme of injustice perpetrated.

Throughout his career, Boyd revisited subject matter from his past again and again and so we see Lawyers and Judges appear in somewhat unrelated series, such as those termed The Wanderer, Orchard of Heaven and Garden in the Wilderness series that he produced in the 1970's. Often depicted whimsically in the later series, whereas in the early works of the 1960’s, figures of law were depicted with a great severity, reflecting the context in which they were set.

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DAVID BOYD OAM (1924–2011) Betrayal IV oil on board signed lower left and dated 2002 lower right and titled to verso 121 x 80cm $8,000–10,000

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DAVID BOYD OAM (1924–2011) Priest trapped in a flowering thornbush with the souls of unborn infants escaping oil on canvas signed lower left and dated 1973 lower right 71.5 x 90cm $15,000–20,000

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DAVID BOYD OAM (1924–2011) The Sunflower oil on canvas signed and dated 1973 lower right 72 x 91cm $16,000–18,000

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DAVID BOYD OAM (1924–2011) Merric's Tree, Snail and Prisoner oil on board signed and dated 1991 lower left and titled to verso 75 x 100cm $8,000–12,000

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DAVID BOYD OAM (1924–2011) Justice trembles when the executioner returns oil on canvas signed and dated 1986 lower left and titled to verso 73.5 x 89cm $12,000–18,000

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DAVID BOYD OAM (1924–2011) Offering of the cloth of gold oil on canvas signed lower left and dated 1974 lower right 94 x 104cm $18,000–24,000

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DAVID BOYD OAM (1924–2011) Priest with stigmata the sacred mother dog and child dancing oil on canvas signed lower left and dated 1979 lower right and titled to verso 79 x 99cm $18,000–24,000

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DAVID BOYD OAM (1924–2011) Metamorphosis under the Southern Cross signed lower left and dated lower right and titled to verso 1996 oil on board 55 x 55cm $6,000–8,000

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DAVID BOYD OAM (1924–2011) Young Girl sfumato oil on masonite signed lower right and dated 1968 26 x 30cm $3,000–5,000

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DAVID BOYD OAM (1924–2011) The Sacrifice oil on canvas signed lower left and dated 1974 lower right and titled to verso 59 x 72cm $12,000–18,000

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DAVID BOYD OAM (1924–2011) Judge in search of his childhood oil on canvas signed lower left and titled to verso 50 x 60cm $12,000–18,000

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DAVID BOYD OAM (1924–2011) Europa, wombat and the eternal return oil on board signed lower left and dated 2002 lower right and titled to verso 70 x 80cm $6,000–9,000

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DAVID BOYD OAM (1924–2011) Europa hurtling towards floating driftwood oil on board signed lower left and dated lower right 1996 and titled to verso 60 x 50cm $6,000–8,000

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DAVID BOYD OAM (1924–2011) Metamorphosis, Judge and Driftwood Study No. 3 in blue oil on board signed and dated 1996 lower left and titled to verso 37 x 44cm $4,000–6,000

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DAVID BOYD OAM (1924–2011) The Phoenix Falling oil on board signed lower left and dated 2002 lower right and titled to verso 60 x 49cm $5,000–7,000

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DAVID BOYD OAM (1924–2011)

DAVID BOYD OAM (1924–2011)

The Verdict – Van Diemen’s Land revisited

The Sealers Rock

oil on board signed and dated 2002 lower left and titled to verso 34 x 29.5cm

oil on board signed and dated 2002 twice lower right and titled to verso 34 x 31.5cm

$5,000–7,000

$4,000–6,000

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DAVID BOYD OAM (1924–2011) Study in blue number 8 oil on board signed lower left and titled to verso 29 x 24cm $3,000–5,000

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DAVID BOYD OAM (1924–2011) Study 10 in red oil on board signed lower left and dated lower right 1996 36.5 x 29.5cm $4,000–6,000

DAVID BOYD OAM (1924–2011) Study 12 in red oil on board signed lower left and dated 1996 lower right and titled to verso 37 x 29cm $3,000–5,000

End of Sale

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SIGNIFICANT EXHIBITIONS DURING THE ARTIST'S LIFETIME

1944-46 Exhibited with John Yule, Rowden White Library University of Melbourne 1948-49 First exhibition of pottery in Sydney 1956 Arthur Boyd (paintings) and David and Hermia Boyd (ceramics) Peter Bray Gallery, Melbourne 1957 'Pattern and Shape', National Gallery of Victoria, Melbourne 1957-58 ‘The Explorer’ series, Australian Galleries, Melbourne, and Clune Galleries, Sydney

1971 ‘The Wanderer’ series in separate sections in three concurrent London exhibition’s 1971 First exhibition of Wanderer series in Adelaide at the Festival of Arts South Australia Von Bertouch Galleries, Newcastle NSW 1972 ‘The Garden in the Wilderness’ series Von Bertouch Galleries, Newcastle, NSW 1973 'The Exiles' series exhibited in London and Melbourne

1959 'The Antipodeans', Victorian Artists Society Galleries, Melbourne

1974 Retrospective exhibition at Skinner Galleries, Perth, Festival of Arts

‘The Explorers and The Tasmanians’ in Adelaide

1976 Retrospective, Bonython Gallery, Sydney

1961 'Recent Australian Paintings', Whitechapel Art Gallery, London 'Australian Paintings', Raymond Burr Galleries, Los Angeles 'Italian Government Art Prize', National Gallery of Victoria, Melbourne 'Explorer, Tasmanian and Trial series', Johnstone Gallery, Brisbane 1963 First one-man exhibitions in London and Paris of ‘The Trial’ paintings 1964 'Arthur and David Boyd', The Mowbray Gallery, Sunderland

1979-82 Retrospective, Albert Hall, Canberra 1983 'Retrospective Exhibition 1957-82', a series of seven exhibitions, Wagner Art Gallery, Sydney 1986 'A Judge in the Landscape', Hong Kong; Wagner Art Gallery, Sydney; von Bertouch Galleries, Newcastle, NSW

'Trial Series', Johnstone Gallery, Brisbane; Bonython Gallery, Adelaide; South Yarra Gallery, Melbourne; Dominion Gallery, Sydney

1987 'Requiem for the Birth of a Nation', Wagner Art Gallery, Sydney

1965 One-man exhibitions in London and in Australia of ‘Church and State’ series

1988 Antipodean Second Chapter', Lauraine Diggins Fine Art, Melbourne

1967 'The Australian Painters: 1946-66', Mertz Collection, The Corcoran Gallery of Art, Washington D.C.

1992 Survey retrospective exhibitions Wagner Gallery, Sydney; Caulfield Art Complex, Melbourne; Macquarie University, Sydney; Beaver Galleries, Sydney, Canberra

'Sfumato Series', Zwemmer Gallery, London, and South Yarra Gallery, Melbourne 1969 'David Boyd: A Retrospective', Commonwealth Institute of Art, London, Sheffield and Edinburgh Arts Vietnam, protest exhibition, Gallery A, Sydney

1995 'The Legend of Europa and the Cockatoos', Eva Breuer Art Dealer, Sydney 1996-7 Series of exhibitions at von Bertouch Galleries, Newcastle, NSW 2001 'Reconciliation', Eva Breuer Art Dealer, Sydney

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SIGNIFICANT COLLECTIONS (Alphabetical):

BIBLIOGRAPHY (Alphabetical)

Adelaide Art Teachers College, Adelaide

Bonython, K. 'Modern Australian Painting and Sculpture', Griffin Press, Adelaide, 1960

Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide Art Gallery of Western Australia, Perth Australian War Memorial, Canberra Ballarat Art Gallery, Ballarat Bendigo Art Gallery, Bendigo

Bonython, K. 'Modern Australian Painting 1960-1970', with introduction by Ross K. Luck, Rigby Limited, Adelaide, 1970 Boyd, Martin, 'Day of my Delight', Lansdowne Press Pty Ltd, Melbourne, 1965 Burr, James & Williams, Sheldon, 'Sfumato Paintings and Drawings of David Boyd' (monograph), Ritchie Dickson Limited, London, 1967

Bundanon Trust, Nowra

Finlay, D. J. 'Modern Australian Painting', Beaverbrook Newspapers Limited, London, 1963

Department of External Affairs, Canberra

Hood, K., 'Pottery', Longmans, Melbourne, 1961

Graylands College, Perth

Luck, Ross K, 'The Australian Painters, 1964-66

Harold Mertz Collection of Australian Paintings, USA

The Mertz Collection', Griffin Press, Adelaide, 1966

Lincolnshire and South Humberside Arts, Usher Gallery, Lincoln, UK

Luck, Ross K., 'Modern Australian Painting', Sun Books, Melbourne, 1969

Macquarie University, Sydney

Parr, Lenton, 'Sculpture', Longmons, Melbourne, 1961

Monash University, Melbourne

Pringle, J. D., 'Australian Painting Today', Thames & Hudson, London, 1963

Museum of Applied Arts and Science, Sydney

Smith, Bernard, 'Australian Painting 1788-1960', Oxford University Press, 1962

Museum of Modern Art of Australia, Melbourne

Smith, Bernard, 'Australian Painting Today', University of Queensland Press, 1962

National Gallery of Australia, Canberra National Gallery of Victoria National Museum of Modern Art, Tokyo Newcastle Regional Art Gallery, Newcastle The Power Collection, Sydney

Osborne, Harold (ed.), 'The Oxford Companion to Art', Oxford University Press, 1970 Benko, Nancy, 'The Art of David Boyd' (monograph), Hyde Park Press, Adelaide, 1973

Queensland Art Gallery, Brisbane

Vader, John, 'The Pottery and Ceramics of David and Hermia Boyd', Mathews/Hutchinson, Sydney, 1977

Queensland University, Brisbane

Marginson, Ray, 'Catalogue of the Melbourne University Art Collection', 1971

Queen Victoria Museum, Launceston

'The Antipodean Manifesto', (exhibition catalogue), Melbourne, 1959

Staffordshire Museum, Stoke-on-Trent, UK

'Recent Australian Painting', Whitechapel Gallery, 1961

Sydney University, Sydney

Scarlett, Ken, 'Australian Sculptors', Nelson, 1980

University of New South Wales, Sydney

Fry, Gavin & Gray, Anne, 'Masterpieces of the Australian War Memorial', Rigby, 1982

University of Adelaide, South Australia University of Western Australia, Perth

Dbrez, Patricia & Herbst, Peter,' The Art of the Boyds', Bay Books, New South Wales, 1991 Furby, Paula & Snowden, Betty, 'The University of Adelaide Art Collections', University of Adelaide, S.A., 1995 'Art and Law', vol. 20, no. 2, April 1995, Monash University, Victoria 'From Vision to Sesquicentenary', The University of Sydney, 1999

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the items are exported within 60 days of the date of sale.

5.3 Delivery or pick up The relevant Artwork will not be made available for delivery or pick up unless or until Artmarketspace receives in clear funds all amounts payable to it in accordance with clause 5.1.

If you have elected to pick up the Artwork, and you fail to do so within ten days of the Fall of the Hammer, the Seller or the Seller's Affiliate will be entitled to store the Artwork in a warehouse at the Buyer's expense, and only release the Artwork after you make payment for removal, storage, handling, insurance and any other costs incurred, together with payment of all amounts due to Artmarketspace.

5.4 Insurance At the Fall of the Hammer, risk in the Artwork transfers to the Buyer and insurance is the responsibility of the Buyer. Artmarketspace

(a) to charge interest at the rate of 6% per annum plus the current variable rate charged by the Commonwealth Bank of Australia on business overdrafts over $100,000; (b) to hold the Buyer liable for the total amount due and to commence legal proceedings for recovery along with interest, legal fees and costs; (c) to cancel the sale; (d) to re-sell the Artwork on behalf of the Seller by any means and at any price the Seller sees fit; (e) to set off against any amounts which Artmarketspace may owe the Buyer in relation to other transactions, the outstanding amount remaining unpaid by the Buyer; (f)

where several amounts are owed by the Buyer to Artmarketspace, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs;

(g) to reject at future auction any bids made by or on behalf of the Buyer or to require the Buyer to pay a deposit before accepting any future bids; and/or (h) to take such other action as Artmarketspace deems necessary or appropriate.

If Artmarketspace does re-sell the Artwork in accordance with this clause, then the defaulting Buyer will be liable to Artmarketspace for the payment of any difference between the Hammer Price originally payable and the Sale Price obtained upon reselling, as well as any Fees (commissions and Buyer's premiums) that Artmarketspace would have received on the original sale and all costs, expenses, damages and legal fees incurred by Artmarketspace or the Seller or the Seller's Affiliate as a result of the Buyer's default.

If Artmarketspace, at its discretion, pays any amount to the Seller up to the net proceeds that would have been payable to the Seller in respect of the Hammer Price payable by the defaulting Buyer, Artmarketspace will have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

5.6 Auction results Artmarketspace will publish auction results, as soon as possible after the sale, on the Platform. Results will include the Buyer's premium and any Resale Royalty paid by the Buyer.

6 Questions If you have any questions relating to Artmarketspace auctions please email auctions@artmarketspace.com.