LH ~ AC

LAUREN HARVEYART CONSULTANT A selection of works offered by Lauren Harvey November 2023

Lauren Harvey Art Consultant. 9 Boorroo Street, Kangaroo Point, 2224 Lauren Harvey +61 406 880 820 emaillauren@me.com 1

Provenance De ance Gallery, Sydney Private Collection A graduate of the National Art School in Sydney, Peter Godwin lectured in painting, drawing and printmaking at the school for many years. He was awarded the Gruner Prize at the Art Gallery of New South Wales in 1979 and again in 1985. He has been a recipient of the Mosman Art Prize and was a nalist in the Sulman Prize at the Art Gallery of New South Wales. A major survey of Godwin’s work is scheduled to be held at Orange Regional Gallery, New South Wales, in 2024. His work is held in public collections across Australia including at the National Gallery of Australia; Art Gallery of New South Wales; Government House, Sydney; Gosford Regional Art Gallery; Sydney Institute of Technology Collection; Parliament House, Canberra and Mosman Art Gallery.

Peter Godwin Blue and White Curtain, 2006/2007 Signed verso Egg tempera on Italian gesso on board 60 x 60cm $14,000

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Provenance De ance Gallery, Sydney Private Collection

Peter Godwin Owl and Spirit Mask, 2009 Signed verso Egg tempera on Italian gesso on board 55 x 45cm $12,000

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Provenance: Painted at Delmore Downs Station in June 1994 Bears Delmore code 94F028 verso Delmore Gallery, Melbourne Picture Window, Sydney

Emily Kame Kngwarreye Untitled, 1994 Acrylic on linen 150 x 90cm $65,000 6

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Provenance Painted at Delmore Downs Station in April 2003 Bears Delmore code 03D001 in margin Delmore Gallery, Melbourne Picture Window, Sydney

Angelina Pwerle Bush Plum, 2003 (detail above) Acrylic on linen 120 x 120cm $35,000

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The mid-00s was a period of immense artistic growth for Angelina Pwerle, and major works from this period are held by several institutions (including the National Gallery of Australia).

The artist's market record (US $120,650), set by Sotheby's in New York in May 2023, was also achieved with a painting from 2003. This signi cant example of Pwerle's ' eld of dots' style is particularly noteworthy because the primed canvas has been completely covered (in most of her works, portions of primed canvas are visible). Here, thousands of white, blue, red, green and orange dots have been layered across the canvas – a painstaking feat that evokes seeds, owers, grasses and plants that carpet the Utopia desert oor after summer. Within the work, currents and patterns draw the viewer on a journey through the seasonal landscape.

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This marvellously distinctive early work by Pwerle was painted with a particularly broad palette, creating endless subtle variations across the canvas. Lines of dotting radiate from the centre, creating a sense of movement and gravity that conjures images of the cosmos and patterns found in botany. Works painted at Delmore Downs Station during this time are amongst the most sought-after works by the artist, who subsequently narrowed and darkened her palette.

PROVENANCE Painted at Delmore Downs Station in June 1998 Bears Delmore code 98F006 in margin Delmore Gallery, Melbourne Private collection, Miami Beach Picture Window, Sydney

Angelina Pwerle Bush Plum, 1997 (detail above) Acrylic on linen 120 x 90cm $32,000 10

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Jennifer Watson Bookshop Interior, Paris 2006, opposite Interior with Antiques, Paris 2006 Pencil on paper 55 x 36cm $600 each

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Jennifer Watson Interior with Antiques lamps, Paris 2006 Pencil on paper 27 x 36cm $450 14

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Dan Kyle has been selected as a nalist in the Paddington Art Prize 2012, 2015, 2019, The Mosman Art Prize. 2013, 2019, Parliament House Plein Air Prize 2013. Kyle studied at the National Art School and lives and works in Kurrajong, Blue Mountains

Dan Kyle Gums at Little Rock 2015 Oil on board 40 x 60cm $1,100

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Peter Godwin Mask Music and Studio 2017 Gouache, pencil and wax on arches paper 20.7 x 30.9cm $2,200 18

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Plenty of people have painted the Australian bush before, but nobody puts paint to canvas quite like Tony Slater. His touch is distinctive. So is his sense of colour and light. Astonishing how true it feels - how utterly lacking in meretriciousness or false feeling. These paintings are gutsy, keenly observed, cliché-free. They look to me like Slater’s best work, which is saying a lot. There is no rhetorical swagger or romantic exaggeration. The choice of subject matter, the unusual perspectives, the close-in cropping – it all feels fantastically fresh. It’s an unlikely achievement when you consider the history of Australian landscape painting, teeming as it is with contenders. Note, especially, the astonishing interplay between shadows, trees, and rocks (here is an artist who had really got to grips with Australian sun-dazzle). Also, Slater’s brilliant ability to capture the textures of rocks and earth, and the look of trees against slopes and skies. At times, it’s like Courbet, Corot, Constable, and Fred Williams all rolled into one.

No question about it: Tony Slater is the real thing.

Sebastian Smee, 2011 Art Critic, Washington Post Pulitzer Prize for Criticism, 2011

Tony Slater New England, Summer Evening 2012 Signed verso Oil on canvas 28 x 50cm $2,200 20

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Since his arrival from the UK in the late 1960s, Slater has been captivated by the Australian light, and this plays an important role in these works. Painted at di erent times of the day, the harsh light of noon softens into warm tones and deep shadows of sunrise and dusk across the works.

Tony Slater studied at the Royal College of Art, London, in the early sixties and exhibited in solo and group shows in London and Europe. His work is in private collections in Europe, America, Australia and Hong Kong. He has exhibited in solo and group exhibitions in Australia including the Art Gallery of New South Wales Sulman Prize on three occasions

Tony Slater Clouds Over New England, 2012 Signed verso Oil on canvas 30 x 30cm $1,800

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Rachel Fairfax Blue and orange Boat Painting, 2006 Oil on board 35 x 60cm $580 24

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Ferguson is an artist of subtle suggestions rather than grand statements. She is interested in what might be called "in-between" states of being, exploring that point where nature meets architecture; where it is hard to decide whether something is un nished or ruined. Many works seem to embody contrasting qualities. They may exhibit strength or fragility; seem frivolous or serious, timeless or transitory. If this is hard to visualise, it is a re ection of the way Ferguson's work avoids categorisation John McDonald, Sydney Morning Herald

Anne Ferguson Landscape with Stream, 1998 Pencil on paper 44 x 59cm $650

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ProvenanceAustralian Wildlife Sanctuary Six Artists Seven Days Mary Place Gallery Private Collection, acquired from the above

Peter Godwin Sunrise Mornington Sanctuary, The Kimberly, 2012 Signed verso Watercolour and pencil on paper 15 x 18cm $900

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Michelle Hungerford is inspired by the landscape of the New England Region of NSW. Michelle has exhibited widely in Australia and has held solo exhibitions at New Hall, Cambridge University, UK. Michelle has been selected as a nalist in the Parliament House Plein Air Prize, the Gallipoli Art Prize and the Norville Art Prize.

Michelle Hungerford Tablelands I, 2012 Pastel on paper 54 x 74cm $990

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Monica Epstein b1952 has a rich artistic heritage, she is the grand daughter of renowned English sculptor Sir Jacob Epstein, who helped pioneer Modern sculpture. Monica is best known for her draughtsmanship in portraiture and still life works. She has exhibited in the USA, UK and France.

Monica Epstein Still Life in Summer, 2005 Oil pastel on paper 50 x 70cm $1,200 32

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“When I paint, I think about my country, and where I have been travelling across that country. I paint from here (points to head - thinking about country) and here (points to breasts, collarbone and shoulder blades - which is a reference to body painting). I think about my people, the old people and what they told me, and jumangkarni [Dreamtime]. When I paint I am thinking about law from a long time ago. I like painting. I get pamarr [rock, stone money] for it. I can buy my food, tyres and x my car. I give some money to my family and I keep some for myself.

Nobody taught me how to paint. I put down my own ideas. I saw these places for myself when I went there with the old people. I paint jilji [sand hills], jumu [soak water], jila [permanent waterhole], jiwari [rock hole], pamarr [hills and rock country], I think about mangarri [vegetable food] and kuyu [game] from my country when I was there.”

Cory Surprise Provenance Raft Art Space Private collection Awards 2010: WA Indigenous Art Award (‘Warnti’ was part of a suite of 3 paintings to win this award) 2009: Western Australian Premier’s Indigenous Art Award Winner of the ‘WA $10,000 Artist’ Award 2008: 25th Telstra National Aboriginal & Torres Strait Islander Art Award Highly commended 1997: 14th Telstra National Aboriginal & Torres Strait Islander Art Award Winner of the ‘Telstra Work on Paper’ Award

Wakartu Cory Surprise (b:1929-2011) Warnti, 2010 Acrylic on canvas 90 x 120cm $6000

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André Bowen Little Wategos, 2017 Signed verso Oil on panel 14 x 25cm $680 36

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Peter Godwin Building and Bridge, Guilin River, 2012 Signed verso Egg tempera on Italian gesso on board 22 x 40cm $5,000 38

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Grace Burzese is a Sydney based artist who works in the elds of painting, drawing, sculpture and ceramics. Her process based art making is inspired by the exploration and play of colour, materials and form. Grace has held numerous solo exhibitions and has been collected in both private and public institutions.

Abstraction for Grace allows for an open identi cation with how one relates to being. In the questioning of self; feelings and perceptions are reduced to colour, mark and form - a language and sensibility which does not identify with known or understood imagery, but rather how something is sensed and embodied.

Grace Burzese Free Fall, 2000 Signed verso Acrylic on masonite panels 69 x 73.5cm $4,000

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Frost’s paintings often end up picturing the environment that he lives in, but for the resemblance to be open and true, it is necessary for the painting to nd a clear sense of its own form. It is important to the artist to be free to follow two different impulses. Reaching back to a known subject is one, but reaching towards an unprecedented image is the other. Both are necessary to achieve a picture that does justice to the experience of living.

Frost’s work is held in the following collections; Artbank, Kedumba Gallery, Macquarie Bank, Maitland Regional Gallery, Tasmania Museum and Art Gallery.

Joe Frost Musicians, 2014 Ink and gouache on paper 10 x 15cm $450

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André Bowen studied at the National Art School, Sydney under the tutelage of Peter Godwin before moving to Leipzig, Germany to further hone his craft. Andre utilised the close proximity to Europe’s leading museums and emersed himself in the works of 17th Century Spanish painter Valázquez.

He began to make his own paint from dry pigments in the tradition of the painters from the Baroque period and devoted years to learning directly from these masterworks. As a result Bowen’s work possesses a distinctive timeless quality, his dedication to working directly from the subject is evident in his re ned observation.

André Bowen Flowers in Two Bottles, 2018 Signed verso Oil on linen 40 x 50cm $2,200

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