LIMITED 2019 CATALOGUE

Editioned fine art prints and multiples by leading Australian artists

2019 Collection

Left: John Olsen signing “Frog Pond�, 2016.

Each John Olsen edition is hand signed and blind embossed with a Kookaburra design drawn by the artist to validate and authenticate the print.

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LIMITED Contemporary Editions is a Sydney based print studio presenting exceptional quality, archival limited edition reproduction prints from a collection of Australia’s most celebrated artists including John Olsen, Louise Olsen, Stephen Ormandy, Matthew Johnson, Alan Jones, Laura Jones, Tim Summerton and Julian Meagher.

2019 Collection

We are also continuously working with new artists to present a dynamic selection of contemporary artworks.

LIMITED Contemporary Editions work directly with artists to accurately colour match every fine art rendition, bringing the imagery of our most celebrated artists to the public in multiple form.

Each artwork image is reproduced on the finest HahnemĂźhle archival etching or watercolour paper using the highest quality, fade-resistant pigmented inks.

Each print is hand signed and editioned by the artist to validate and authenticate the print.

CONTENTS Claudia Damichi ................................................2 McLean Edwards................................................6 Nicholas Harding .............................................10 Belynda Henry .................................................14 Matthew Johnson .............................................18 Michael Johnson ..............................................26 Alan Jones .......................................................30 Laura Jones .....................................................40 Tania Mason ....................................................42 Julian Meagher .................................................46 John Olsen ......................................................50 Louise Olsen ...................................................90 Stephen Ormandy ...........................................94 Marisa Purcell ................................................110 Tim Summerton .............................................114

All works are copyright the respective artist, all rights reserved.

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Claudia Damichi is essentially focused on the effects of colour and pattern and how they ‘charge’ a space, be it real or imagined.

Her colour ques come from artists such as Josef Albers and Bridget Riley, which she synthesises into a contemporary dialogue through a reviewed relationship to current architecture and industrial design.

Claudia Dimichi

Claudia has exhibited in over 40 solo and group exhibitions in Australia and overseas. She has most recently participated in institutional exhibitions such as In Bloom, Gippsland Art Gallery, Victoria and Domestic Bliss, Deakin University Art Gallery, Melbourne. She has been shortlisted for the Royal Bank of Scotland Emerging Art Award and has been a finalist for the Helen Lempriere Scholarship three times.

She has received numerous grants and awards such as an Australia Council New Work Grant , The Ian Potter Foundation Grant and AGNSW Moya Dyring Studio Residency, Cite Internationale des Arts, Paris. Her work is held in collections such as Artbank, The Gold Coast City Gallery and the University of Sydney Union Collection.

She has had her work reviewed and featured in publications such as Time Out London, Australian Art Collector, Art Monthly Australia, Sydney Morning Herald, Belle magazine, Marie Claire Lifestyle and Vogue Living Australia.

Claudia Damichi is represented by Olsen Gallery, Sydney.

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Black Dam, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 65 x 65 cm Edition of 20

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The Meeting Point, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 70 x 50 cm Edition of 20

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Strip Tease, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 70 x 50 cm Edition of 20

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Born in Darwin in 1972, McLean Edwards studied at the Canberra School of Art and had his first solo exhibition in Sydney in 1995. Known for his theatrical, darkly humorous take on figurative painting and his bold use of colour, he has had over 20 solo shows and is collected widely by private institutions across Australia and is in many International and Australian private collections.

McLean Edwards

A newspaper reviewer once commented that McLean Edwards’ strange psychological portraits ‘had the ability to expose an essential vulnerability of the human condition, and that his comic sense of social realism presented individuals as refugees of a bygone era floating anchorless in today’s ostensibly classless society.’ (SMH 10.2.1995) An Australian arts reviewer stated his work has the ‘same sour humour as Samuel Beckett’s plays and prose, an absurd, theatrical sadness that celebrates idiosyncrasy while acknowledging the seeming impossibility of fighting the universe…His work is marked with a palpable sense of mortality and humility, a tragicomedy of figures and apparitions, thoughtbubbles and asides, a diary of his anxieties and dreams.’ (Art Collector Australia, Issue 57 2011).

Painting in oil on canvas, Edwards’s works are fluid and change sometimes dramatically as those thoughts and ideas correspondingly reform. He also scribes his age in the artwork, often in the corner of the canvas as a countdown to his mortality and signature of his work.

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Edwards paints in an intriguing manner, his brush strokes are confident and loose and yet by contrast are reinforced with delicate lines and considered details.

He skilfully makes this technique look easy, however this approach is achieved through his many years of painting full time.

Edwards’ practice to date has concentrated on the human figure - especially the history of portraiture.

There are allusions to European art history as ‘old master paintings’ are subverted and the sitters are made to look impotent and ridiculous as characters set in a dark comedy on stage.

Their features are often exaggerated; bulbous noses with swollen ears are paired with comic sullen expressions juxtaposed with a carnivalesque colour palette and/or heightened through a dark background.

Edwards’ influences are wide ranging as he reads and watches media constantly. Edwards’ does not hide his influences through art history and viewers associate Ingres to modern greats Picasso and Bacon to contemporary painter Condo with his work. Australian artists such as Sidney Nolan, Donald Friend, and William Dobell also can be traced as influences.

Edwards is represented by Olsen Gallery, Sydney and Olsen Gruin New York.

Meteorite, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 55 x 50cm Edition of 35

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Disco Boat, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 50 x 50cm Edition of 35

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Not Forgotten, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 50 x 50cm Edition of 35

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Nicholas Harding

Nicholas Harding (b.1956) is a highly regarded BritishAustralian artist known for his large scale painted portraits and pen and ink drawings. Harding came to Australia from England as a six-year-old. After studying for a BA he worked for twenty-two years as a freelance animator. Meanwhile, he was became known, early on, for huge pen and ink depictions of the railway tracks and shabby streets of inner Sydney, and the scrubby trees of the beaches of the north coast of New South Wales. His lush paintings on the same themes, as well as flowers, beach and river scenes and caravan parks are now in high demand from collectors.

Since 1994 he has been a regular exhibitor in the Archibald, Wynn, Dobell, and Sulman prizes. In 2001, the first of several triumphant years, Harding won the Dobell Drawing Prize as well as the Archibald. Harding was the most-represented artist in the National Portrait Gallery exhibition Idle Hours in 2009-2010. A major retrospective of his work, Nicholas Harding: Drawn to Paint was at the SH Ervin Gallery in Sydney over the same period.

Harding’s work is held in the collections at the National Gallery Canberra, the Art Gallery of New South Wales and the Newcastle Region Art Gallery.

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Magnolia and Vine, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 61 x 61cm Edition of 25

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Wiljakali Saltbush, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 61.5 x 69cm Edition of 25

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Belynda Henry uses vibrant and vivacious colour to depict the textured rolling hills, pristine lakes and pastel skies of her surrounding Australian landscape on the NSW Central Coast where she lives with her family.

Her paintings are timeless renditions that evoke a calm and peaceful rhythm. Belynda has exhibited widely in both solo and group exhibitions throughout Australia.

Belynda Henry

She has been a finalist in a large number of well known art prizes and exhibitions, most notably the Paddington Art Prize, the Wynne prize , the Archibald Portrait Prize, the Tattersalls Art Prize and the Mosman Art Prize.

Belynda Henry is represented by Flinders Lane Gallery in Melbourne, and Australian Galleries in Sydney, Australia.

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Balance, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 75 cm Edition of 25

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Black Dam, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 55 cm Edition of 25

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Matthew’s artistic apprenticeship has been an eclectic if not a modernist one. A Melbourne-based painter, Matthew’s diverse travel and cultural experiences are distilled through the archetypal filter of oil and pigment.

The underlying compositional structures of his paintings are repetitive – grids, geometric patterns, stripes or sequential arrangements drawn from nature.

Matthew Johnson

Matthew has completed numerous residencies throughout Europe and Australia. As well as having his work held in numerous private and corporate collections nationally and internationally, Matthew is continually developing site specific architectural installations throughout Australia.

Matthew Johnson is represented by Olsen Gallery, Sydney.

Featured Mathew Johnson works are published by Spitting Image

Right: Light Pool, 2018 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 80 x 92 cm Edition of 25

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Coalescence I, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 52.5 x 47 cm Edition of 10

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Coalescence V, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 52.5 x 47 cm Edition of 10

Coalescence II, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 47 x 50 cm Edition of 10

Inertia II, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 52.5 x 47 cm Edition of 10

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Aqua Laluna, 2012 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 52.5 x 47 cm Edition of 10

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Aqua Rosa, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 52.5 x 47 cm Edition of 10

Fugue, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 61.5 x 46 cm Edition of 10

Frieze, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 61.5 x 46 cm Edition of 10

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Coda, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 61.5 x 46 cm Edition of 10

Coda II, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 61.5 x 46 cm Edition of 10

Inflection, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 61.5 x 46 cm Edition of 10

Fugue II, 2013 100% archival acid free cotton rag watercolour paper using fade resistant archival pigment ink Image size 61.5 x 46 cm Edition of 10

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Michael Johnson

In 1960, following the completion of his studies in Sydney at the Julian Ashton Art School and the National Art School, Michael Johnson departed for London, where he spent the following seven years. During this time he painted full time, working periodically as a studio assistant to the British sculptors Brian Wall and Anthony Caro. In 1967, he returned to Sydney, where he held his first two solo exhibitions, thus marking the beginning of a long and outstanding career.

Michael Johnson’s work is marked by a metaphysical orchestration of colour and a muscularity of presence. His paintings (and occasional works in three dimensions) are romantic in essence; in their application, they are raw and intuitive, deeply connected to his intense and complex relationships with nature, natural process and mood. This is most tangibly so in his works of the past decade, where ruptured, sinewed application of base, primary colour performs an opera of gestures and painterly manoeuvres.

Michael Johnson has exhibited widely both nationally and internationally, and was included in the seminal exhibitions, ‘The Field’, National Gallery of Victoria, Melbourne, and Art Gallery of New South Wales, Sydney (1968); the UNESCO Biennale, France (1968); the São Paulo Bienal, Brazil (1969); and The Australian Biennale, Art Gallery of New South Wales, Sydney (1988).

Among Johnson’s awards and commissions are works for the Sydney Conference Centre and the State Bank of New South Wales, Sydney.

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He is represented in all major Australian state and regional collections, New Zealand’s Chartwell Collection, and in numerous significant corporate and private collections in Australia and overseas.

Beagle Press published a substantial monograph on Michael Johnson’s work in 2004.

Michael Johnson works are published by Spitting Image, Sydney.

Untitled (Pastel 1), 2018 Archival pigment print on Canson etching rag, 310gsm Image size 58.8 x 44.6 cm Edition of 25

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Untitled (Purple), 2018 Archival pigment print on Canson etching rag, 310gsm Image size 49.3 x 60.2 cm Edition of 25

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Untitled (Orange), 2018 Archival pigment print on Canson etching rag, 310gsm Image size 49.3 x 60.2 cm Edition of 25

Untitled (Pastel 2), 2018 Archival pigment print on Canson etching rag, 310gsm Image size 67.9 x 50.5 cm Edition of 25

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Alan Jones’ work explores ideas that surround notions of identity. Jones works across a broad spectrum of mediums and takes a personal approach to subject matter.

Through this process, Jones aims to communicate the intricacies of human connections and how his own roots subsequently influence his work.

Alan Jones

Jones (b.1977) currently lives and works in Sydney, Australia. Since graduating from the National Art School (BFA) in 2000, Jones has held 21 solo exhibitions and over 100 group exhibitions in Australia and internationally.

Alan Jones graduated from the National Art School (BFA) in 2000. His works have been exhibited extensively in Australia as well as internationally having held solo exhibitions throughout the UK and Asia.

Jones’ broad approach to media has seen public and private collections acquire his work world wide including Australia’s National Portrait Gallery, Art Gallery of South Australia, Macquarie Group and Artbank.

Jones was the recipient of the 1997 Inaugural Pat Corrigan Scholarship for Painting and 2004 Brett Whiteley Travelling Art Scholarship. Other major painting awards received include the 2008 Paddington Art Prize, 2014 Kilgour Prize and 2015 Mosman Art Prize.

Alan Jones is represented by OLSEN Gallery, Sydney.

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Alan Jones signing “Dunningham Reserve (Painting 160)” at LIMITED, 2018

Self Portrait (Painting 123), 2015 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51 x 46 cm Edition of 8

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Cairns (Painting 213), 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 76 x 76 cm Edition of 25

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Dunningham Reserve (Painting 160) 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 76 x 70 cm Edition of 25

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GUNNEDAH SERIES Gunnedah is a town in north-eastern New South Wales, Australia Series published in 2018 by High Res Digital Archival pigment print on cotton rag art paper Image size 21.6 x 28 cm Edition of 25

Gunnedah 1

Left: Gunnedah 8 34

Gunnedah 2

Gunnedah 3

Gunnedah 4

Gunnedah 5

Gunnedah 6

Gunnedah 7

Gunnedah 8

Gunnedah 9

Gunnedah 10

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CHERRYBROOK SERIES Cherrybrook is a suburb of Sydney, in the state of New South Wales.

Series published in 2018 by High Res Digital Archival pigment print on cotton rag art paper Image size 41 x 45 cm Edition of 12

Beachwood Parade

Left: Installation of the Cherrybrook Series in the exhibition ‘Art of Connecting: Figure and Landscape (in conjunection with 3:33 Art Projects).

Bank of America Merrill Lynch, 26 September 2018 - 28 February 2019 36

Tamarisk Crescent

Tamarisk Crescent No. 1

Tamarisk Crescent No. 2

Tamarisk Crescent No. 3

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Gavin Place

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Park

Mike Kenny Oval

Greenway Park No. 1

Fire Station

The Fire Trail

The Fire Trail No. 1

The Fire Trail No. 2

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Laura Jones’ luminous paintings embody a deep admiration for the natural world. Her often unusual and awkward compositions invite the viewer to share in the experiential process of painting. She has developed a method of capturing the essence of her subject without being overly concerned with the minutiae of a botanic artist.

Laura Jones

Born in 1982 in Sydney, Jones earned a Bachelor of Arts (Asian Studies) from the University of Sydney, and a Master of Art from the College of Fine Arts (UNSW).

She has been included in numerous public exhibitions including a solo exhibition at the Hawkesbury Regional Gallery in 2015.

Regularly punctuating her practice with portraiture, she has been selected as a finalist in competitions such as in the 2019 Archibald Prize, Portia Geach Memorial Award, the Doug Moran Portrait Prize, and the Shirley Hannan Portrait Award.

In her first solo exhibition Wildflower at Olsen Gallery, Laura Jones celebrated the Australian wildflower. While knowingly engaging with the lineage of still life, her paintings are contemporary renditions of the genre.

Tiny stems of kangaroo paw or flowering gum are placed in crystal vases and scaled up for a fresh perspective. Jones, who has worked as a florist, has an observation based studio practice, setting up the arrangements and painting from life.

Addicted to the powerful symbology of the ephemeral bloom, Jones juxtaposed wildflowers with their European counterparts in a series of paintings that declare a deep respect for the importance of flowers in both art and life.

Laura Jones is represented by Olsen Gallery, Sydney.

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Rhododendrons, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80.5 x 66.5 cm Edition of 25

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Tania Mason has a Diploma and Degree in Fine Arts from studies undertaken at the National Art School in Sydney. Over the past 20 years Tania has exhibited throughout in France, Melbourne, Brisbane, Adelaide and Sydney.

Tania Mason

In 2016 Tania was the winner of the Calleen Art Award for Painting, and she has more recently completed an eighteen meter Public Art Commission in Bondi Junction, NSW. Other commissions include The Arts Centre of Victoria and The Australian Ballet. These works were acquisitioned for The Arts Centre of Victoria Collection and have toured to regional galleries around Australia.

Tania has undertaken residencies at Bundanon, Hill End and Artspace and throughout her residencies a love of teaching has blossomed. She now regularly conducts workshops for children and teenagers based around children book illustration, watercolour and gouache techniques.

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Some Old Tree, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 58 cm Edition of 25

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I have found over the years art making does not just fit into the old traditional old concepts of creating art. Art is about ideas and beauty that just aren’t pretty pictures on a wall but interactive, thought provoking and quite unique. Having an interest in creating art is about learning and incorporating the cross-over of many different mediums; charcoal, ink, gouache water colour, pen or sculpture ...you name it lets explore it!

- Tania Mason

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This Stopped Everything, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 58 cm Edition of 25

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Julian Meagher is a 37 year old Sydney based artist who ten years ago left work as a medical doctor to pursue painting full time. He studied the Atelier method of painting in Florence, Italy. Since then he has exhibited widely across Australia and Internationally.

He recently had a sell out show at the Australian High Commission in Singapore.

Julian Meagher

For the last seven years he has also been a director of Chalk Horse Gallery, known for its support of emerging contemporary artists and international programming.

In 2009 and 2012 he was the recipient of the New Work Grant from the Australia Council of the Arts He has been a finalist multiple times in the Doug Moran Portrait Prize, Salon des Refuses, Metro Art Prize, Blake Prize for Religious Art, RBS Emerging Artist Prize and was a finalist in the 2014 Archibald Prize, Art Gallery of NSW. He has exhibited at the Melbourne International Art Fair in 2010 and 2012, Shanghai Contemporary Art Fair in 2010, Scope Miami in 2011 and 2012 and at Sydney Contemporary 2013.

Julian Meagher is represented by OLSEN Gallery, Sydney.

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A Shining Diamond, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 71 x 51 cm Edition of 25

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The Inlet #19, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80 x 64 cm Edition of 25

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The Inlet #8, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80 x 64 cm Edition of 25

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Born in Newcastle in 1928, Dr John Olsen received an Order of Australia in 2001.

John Olsen

After studying in Sydney in the early 1950s, Olsen’s potential was recognised and he was paid to travel and paint in Europe, spending time in Paris and Majorca.

On his return, Olsen introduced an expressionistic type of painting to other young Sydney painters, “You Beaut Country” signalling the beginning of his subsequent success.

Olsen’s feeling for the Australian environment was demonstrated in his landscapes which were teeming with life, with irregular squiggles and dots imposed on loosely brushed and stained expanses of colour.

In 1968, Olsen set up and ran the Bakery Art School, running it until 1970. It was in 1970 that he received a commission, from the Dobell Foundation to paint the Sydney Opera House mural, “Salute to Five Bells”, inspired by a poem by Kenneth Slessor.

In 1977 he was awarded the O.B.E. for services to the Arts and in 1993 he was awarded an Australian Creative Fellowship. He was also awarded the Wynne Prize in 1969 and 1985 and the Archibald Prize in 2005 among many other awards throughout his career.

Olsen’s work is represented in all Australian state gallery collections (Art Gallery NSW Collection), the National Gallery of Australia, Canberra and regional galleries Australia wide. He is also represented in institutional, corporate and private collections in Australasia, United Kingdom, Europe and the United States of America.

John Olsen is represented by Olsen Gallery Sydney.

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LATEST RELEASES

Seafood Paella, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Large: Image size 70 x 175 cm Edition of 35 Standard: Image size 50 x 125 cm Edition of 35

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Lake Eyre - Channel Country, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 94 x 71 cm Edition of 35 54

Road to Bathurst, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 100 x 71 cm Edition of 35

Bathurst Butter, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80 x 73 cm Edition of 35

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Left: River in Flood 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 95 x 50 cm Edition of 35

Right: Rookery 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 95 x 50 cm Edition of 35

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Artists’ Camp, 2019 Archival pigment print on Hahnemühle Fine Art paper Image size 80 x 71.5 cm Edition of 35

Wattle Pond, Bathurst 1977-78, 2019 Archival pigment print on Hahnemühle Fine Art paper Image size 80 x 75.5 cm Edition of 35

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Sturt Peas, Pilbara 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 70 x 77 cm Edition of 35

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Night Train and Owls, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 73 x 75 cm Edition of 35

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Sydney Harbour 2012, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80 x 73 cm Edition of 35

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Round and About the Harbour, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80 x 72 cm Edition of 35

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Harbour Pool (Blue Swimmer Crab), 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 71 x 135 cm Edition of 35

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Spring Tide - Sydney Harbour, 2011 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51 x 102 cm Edition of 65

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Barrenjoey - Popping Blue Bottles 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 95 cm Edition of 65

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Popping Blue Bottles II 2013 Archival pigment print on HahnemĂźhle Fine Art paper Image size 68 x 74 cm Edition of 35

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Bondi - Rose Fingered Dawn Archival pigment print on HahnemĂźhle Fine Art paper Image size 76 x 82 cm Edition of 65

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The French Bath, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 54.5 x 51 cm Edition of 45

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The Japanese Kite, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 72 x 82.9 cm Edition of 35 Kangaroo Country, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 70 x 51 cm Edition of 40 68

Low Tide, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 80 cm Edition of 35

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EARLY WORKS DARLINGHURST CATS The original two-panel painting, measuring 250 x 312cm was commissioned from the artist by collector and philanthropist John Kaldor in 1962. It is now owned by a private Sydney collector.

“Olsen’s early reputation rests on the paintings he produced in the early 60s – big colourful works often composed around a large circular motif skirted with line work that hovers between abstraction and figuration.

Darlinghurst Cats (1962) is a fine example of this approach – a cat’s body floats like an island in the centre of the canvas. What appears to be a plant-like extrusion on the left morphs into a cat’s head and a feline body emerges below. “ - Andrew Frost: The Art Life Review, Sept 2016

Darlinghurst Cats, 2018 Archival pigment print on Hahnemühle Fine Art paper Image size 66 x 82 cm Edition of 35

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Right: People who live on Victoria Street, 2018 Archival pigment print on Hahnemühle Fine Art paper Image size 54.5 x 82 cm Edition of 35

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KIMBERLEY WETSEASON It was in the winter of 1982 that John Olsen first ventured into the Kimberley, an experience that was to have an enduring influence and become a reoccurring motif in his work. With its stark contrasts of flood plains and endless desert, the North-West struck Olsen as a fabled Never-Never. A wilderness of brutal and tangled beauty, Olsen described his engagement with the landscape as having ‘an impact which makes one strive for familiar points of reference: to compare the complex of channels through the Wyndham salt flats to the gigantic nervous system, or the strange rock formations of the Bungle Bungle to abandoned Buddhist temples.

It is as though the observer is forced to seek a key to their messages, but there really is no point in making such comparisons because the North-West remains unique: a territory with a fearful fascination and an unforgettable charisma which have no relationship to any other human experience.’

It is this ‘charisma’ that is so amply illustrated here in Kimberley Wet Season 2004. Displaying Olsen’s extraordinary ability to convey atmosphere, the work is a deluge of tropical abundance, a storm contained within the parameters of the picture frame.

- Preface in Olsen, J., The Land Beyond Time, 1984

The Big Wet, 2010 Archival pigment print on Hahnemühle Fine Art paper Image size 65 x 82 cm Edition of 65

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Kimberley Wetseason Archival pigment print on HahnemĂźhle Fine Art paper Image size 70 x 82 cm Edition of 35

Desert Flowers, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 67.5 x 83 cm Edition of 35

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Lake Eyre - The Desert Sea VIII, 2018 Archival pigment print on Hahnemühle Fine Art paper Image size 94 x 71 cm Edition of 35 74

Lake Eyre - The Desert Sea X, 2018 Archival pigment print on Hahnemühle Fine Art paper Image size 94 x 71 cm Edition of 35

LAKE EYRE - THE DESERT SEA SERIES “I first went to Lake Eyre in 1974. It was only the second time it had flooded, since Cook landed in Australia. Swollen rivers poured in to fill the dry lake, transforming it into a vast inland sea.

“I became fascinated with the paradox of Lake Eyre: there it is, and there it isn’t.

“Suddenly the silent dry salt pans transform into a vast lake filled with fish, flotillas of noisy birds and animal life teem in. Then it dries out and becomes a vast silent, salt-encrusted expanse again.

“Lake Eyre has a special spiritual quality that kept drawing me back to it, time and again. It’s so full of wondrous contradictions and enigmas, which inspire more meditative contemplation.” John Olsen - John Olsen, 1999

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Lake Eyre - The Desert Sea II, 2017 Archival pigment print on Hahnemühle Fine Art paper Image size 94 x 71 cm Edition of 35 76

Lake Eyre - The Desert Sea III, 2017 Archival pigment print on Hahnemühle Fine Art paper Image size 94 x 71 cm Edition of 35

Lake Eyre - The Desert Sea VII, 2017 Archival pigment print on Hahnemühle Fine Art paper Image size 94 x 71 cm Edition of 35

Lake Eyre - The Desert Sea IX, 2017 Archival pigment print on Hahnemühle Fine Art paper Image size 94 x 71 cm Edition of 35 77

FROGS

Frog Celebration After Storm, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 68 x 83 cm Edition of 35 Spring at the Lily Pond, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 70 x 65 cm Edition of 35

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Tree Frogs, 2010 Archival pigment print on HahnemĂźhle Fine Art paper Image size 65 x 66.5 cm Edition of 85

Frog Dance (Lakefield Sunset), 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 85 x 81 cm Edition of 35

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Hanging Tree Frog, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 63 x 55 cm Edition of 65 Falling Frog, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80 x 58 cm Edition of 65 80

Frog Swimming, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 71 x 51.5 cm Edition of 45

Frog and Fly, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 74 x 52 cm Edition of 90 81

Coq au Vin, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 52 x 57 cm Edition of 40

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Paella Marinara, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 82 cm Edition of 35

CULINARIA - The Cuisine of the Sun It was an epiphany – yes, that’s what it was, it happened at that remarkable market off the La Ramblas in Barcelona – “The Boqueria” I had travelled from Paris to Barcelona on a Lambretta – I had, a few months before, arrived from Australia, young, wet behind the ears, but all antennas open to break the limitations of the tyranny of distance.

There, in this market were things that I had never seen, a surrealist scene of saffron-coloured chickens and ducks – heads n’ all suspended from the ceiling, hams, salamis – Catalan pimento sausages, Butifarra, Sobrasada, black and white studded garlic blood sausages – then vegetables of vivid green and red, sad purple-peppers, zucchinis, onions and eggplants. Oz gum trees and desert landscapes disappeared.

The Road to Damascus was just off the Ramblas.

I had never, in a cloistered childhood, ever cooked, but I had with me from London– I don’t know why, a copy of Elizabeth David’s ‘Mediterranean’ cooking. When I finally settled in Deia de Mallorca, I came to realise that all these splendid dishes derived from a peasant necessity – vegetables and fruits that naturally grew there.

- John Olsen, 1999

The Little Universe of the Sous Chef, 2011 Archival pigment print on Hahnemühle Fine Art paper Image size 77 x 82 cm Edition of 65 83

Squid with its own ink, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51.5 x 57 cm Edition of 40

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The Bouillabaisse, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 52 x 57 cm Edition of 40

Barcelona Squid Ink, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 42 x 50 cm Edition of 35 The Gourmet, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 53 x 40 cm Edition of 40 85

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Giraffes Approaching, 2017 Archival pigment print on Hahnemühle Fine Art paper Image size 52 x 60cm Edition of 85 Left: John Olsen signing ‘Giraffes Approaching’

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Giraffes at Mt. Kenya II, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 84 x 51 cm Edition of 85 88

Mt Kenya, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 65 x 48 cm Edition of 65

Giraffes at Mt Kenya, , 2017 Archival pigment print on HahnemĂźhle Fine Art paper Paper size 73 x 82 cm Edition of 65

Monkey & Giraffe, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Paper size 157 x 90 cm Edition of 30 89

Louise Olsen

Louise Olsen is an artist whose complementary practices in painting and sculpture inform her design work as Creative Director of Dinosaur Designs, one of one of Australia’s leading design brands. She also runs her own eponymous label of precious metal jewellery and sculptures. Her designs have been exhibited in pre-eminent galleries around the world, from the Victoria & Albert Museum in London to the Gallery of Modern Art in Brisbane. In 2016, Louise and Stephen Ormandy published ‘The Art of Dinosaur Designs’, a book that coincided with a travelling exhibition of works that has shown at The Karen Woodbury Gallery, Melbourne, Bega Regional Gallery, Hazlehurst Art Gallery and Newcastle Art Gallery. Some of Louise’s pieces are also in the permanent collection of the Art Gallery of Western Australia. Louise and Stephen were commissioned to create an installation for Brisbane’s GoMA (Gallery of Modern Art), which resulted in the work, ‘Series 8’. She has created a vast array of Dinosaur Designs collections which are sold globally in stores such as Bergdorff Goodman, Holt Renfrew, Lane Crawford, Selfridges and Net-A-Porter. In 2017 she and her partner Stephen Ormandy won the Best Accessories Designs award for Dinosaur Designs at the Australian Fashion Laureate Awards.

She met her business and life partner Stephen Ormandy while studying at art school in Sydney. A graduate of The City Art Institute (now known as UNSW Art and Design), Louise has been sculpting, designing and creating for over thirty years, her work referencing the natural world.

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Louise plays an active part in the community by supporting organisations and people who make the world a beautiful place through art, helping those less fortunate or protecting endangered natural habitats, such as the ACF’s Rainforest protection programme, the WWF’s Gouldian Finch campaign and Get-Up’s campaign to protect the Great Barrier Reef. She is also a proud supporter of Human Rights Watch and an ambassador for projectABLE, a careers initiative aimed at recruiting younger skilled workers into the disability sector. Louise has been a judge of the Veuve Clicquot New Generation Award, a global initiative supporting women’s empowerment, since 2014.

Right: Dream Garden 2, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80.5 x 90 cm Edition of 35

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Dream Garden 1, 2019 Archival pigment print on HahnemĂźhle Fine Art paper Image size 80.5 x 90 cm Edition of 35

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“I have a fascination with balance and the relationship between being bold and the sensitivity of the delicate.

I’m constantly inspired by nature; there is a something beautiful about the time things take to evolve and perfect in the natural world” Louise Olsen

Left: Louise Olsen signing her work, Dream Garden 2, at LIMITED, May 2019.

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Stephen Ormandy

Born in Melbourne, Stephen Ormandy graduated from The City Art Institute (now known as UNSW Art and Design) in Sydney in 1985. During his time at the college he met Louise Olsen and Liane Rossler and in their final year of study they established the design company Dinosaur Designs. Dinosaur Designs has grown to be one of Australia’s leading design brands specialising in resin and metallic jewellery and home wares.

Alongside his role as Creative Director of Dinosaur Designs, Stephen Ormandy has maintained and continued his independent artistic practice. Ormandy is inspired by the natural world and informed by a strong design aesthetic based on colour and form.

There is a discernible dialogue between his large-scale oil paintings and sculptural work, with line, shape and surface each informing the other.

Ormandy was a finalist in the Sulman Prize at the Art Gallery of New South Wales in 2015. In 2016 Stephen Ormandy and Louise Olsen published The Art of Dinosaur Design that coincided with a travelling exhibition which has shows at Bega Regional Gallery and Hazelhurst Art Gallery.

His work is held in public collections across Australia including Artbank, The Sir William Dobell Art Foundation, The Powerhouse Museum, The National Gallery of Victoria and The Art Gallery of Western Australia.

Ormandy is represented by Olsen Gallery, Sydney and Olsen Gruin New York.

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Attention Seeker, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 103.5 x 90cm Edition of 50

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Titanium and Mars, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 90 x 90cm Edition of 50

Crowded Room, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 102.5 x 90cm Edition of 50 96

Crystal Ball, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 92 x 72 cm Edition of 50

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Olé, 2016 Archival pigment print on Hahnemühle Fine Art paper Image size 90 x 90 cm Edition of 50

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Afternoon Delight, 2016 Archival pigment print on Hahnemühle Fine Art paper Image size 90 x 90 cm Edition of 50

Drag Racing Spirit, 2016 Archival pigment print on HahnemĂźhle Fine Art paper Image size 90 x 90 cm Edition of 50

Flamingo, 2016 Archival pigment print on HahnemĂźhle Fine Art paper Image size 90 x 90 cm Edition of 50

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Seagull and Hot Chip, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 107 x 79 cm Edition of 8 100

The Toast Danced with the Egg, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 92 x 72 cm Edition of 10

Pollination, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 92 x 72 cm Edition of 8

Clown, 2014 Archival pigment print on HahnemĂźhle Fine Art paper Image size 92 x 72 cm Edition of 8 101

Lust for Life, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51.5 x 51 cm Edition of 10

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Still Life with Skull, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 52 x 51 cm Edition of 10

Killer Whale, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 53.5 x 55 cm Edition of 10

Balance, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51.5 x 48.5 cm Edition of 10

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Ribbon Dance, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 61.5 x 50.5 cm Edition of 10

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Pull up to my Bumper, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 69 x 54 cm Edition of 10

Dreaming, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 63 x 59 cm Edition of 10

Alert, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51 x 42 cm Edition of 10

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You Beauty, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 54 x 54 cm Edition of 10

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Fat Lady Sings, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 57 x 51 cm Edition of 10

White Cloud, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 50 x 51 cm Edition of 10

Green Shoots, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 51 x 51 cm Edition of 10

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Table Landscape, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 48 x 45 cm Edition of 10

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Shadow in Blue, 2012 Archival pigment print on HahnemĂźhle Fine Art paper Image size 48 x 45.5 cm Edition of 10

Joey, 2012 Archival pigment print on Hahnemühle Fine Art paper Image size 46 x 60 cm Edition of 10

Flow Stones, 2012 Archival pigment print on Hahnemühle Fine Art paper Image size 69 x 53 cm Edition of 10 AUD 109

The subject of Marisa Purcell’s artwork cannot be found in her paintings but comes about through the experience of them. Their meaning resides in the illusory spaces created between the swathes and splashes of brilliant saturated colour, and the bold and ghostly forms that spill out from her canvases to permeate the viewer.

Marisa Purcell

Purcell describes these illusory voids as liminal spaces, and thinks of them as active zones which cross time and space, and in which artist and viewer meet and interact. Long interested in the processes of art’s reception, she draws inspiration from the example of artists across history - from Fra Angelico to Rothko who similarly exploited the mystical power of painting to embody spiritual sensation.

Purcell works instinctively and experimentally to the same end, constantly paring her work back to essential motivations. In their final iterations, her ephemeral and aesthetically sophisticated compositions gesture towards an experience of the profound that is available to us all.

Marisa Purcell is represented by Olsen Gallery in Sydney, Australia and Olsen Gruin in NYC.

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Photo – Phu Tang

Afternoon Breeze, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 66.5 x 60 cm Edition of 25

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Afternoon Breeze, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 66.5 x 60 cm Edition of 25

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Conceal, 2018 Archival pigment print on HahnemĂźhle Fine Art paper Image size 71.5 x 60cm Edition of 25

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Tim Summerton

Tim Summerton has been drawing inspiration from the Australian landscape for over a decade in his soulful abstract paintings. Working with a wet-on-wet oil application process, he manipulates the slow drying effect of the medium to great effect in his layered canvasses. By working with combinations of saturated bright tones and more gentle hues Summerton allows form to emerge as a luminous force from the depths of his complex surfaces.

He contemplates the pristine tangle of the abundant strangling vines that inhabit and consume the tall trees occupying the steep hillside of his home in Kangaroo Valley. Working from the memory of his frequent visits, Summerton conjures undulating looping lines with rubber blades in a continual process of addition and subtraction that simultaneously portray the rhythmical vegetation and ghosts, or trace marks, of recollection.

Tim Summerton completed a Bachelor of Arts Degree in Newcastle, Sydney in 1998 and an Honours degree in Fine Art from the University of New South Wales in 2000. He was the 2009 runner up for the prestigious Kings School Art Prize. His work is included in the Macquarie Bank’s corporate collection and in numerous private collections in Australia, the US, Britain and Asia. Recently, having his first solo show in Asia, Summerton is also now becoming well known in the international contemporary art scene.

Tim Summerton is represented by OLSEN Gallery, Sydney.

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Windswept, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 76 x 55.5 cm Edition of 25

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Broken Pine Nocturne, 2017 Archival pigment print on HahnemĂźhle Fine Art paper Image size 75 x 60 cm Edition of 25

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SHOWROOM Level 1 / 74 Queen Street Woollahra NSW 2025 Australia T: +61 (0)2 9363 0660 Hours: Tuesday to Saturday 11am - 5pm

“It’s been great working with LIMITED over the past couple of weeks. We have produced two prints I’m super proud of. Clarity, qualiyamazing!”

— Alan Jones

Email: info@contemporarylimitededitions.com www.contemporarylimitededitions.com WHOLESALE AND TRADE ENQUIRIES We offer our prints in a range of sizes to suit both domestic and corporate environments. We welcome inquiries from individuals and trade businesses, designers and architects. Please contact us direct on +61 (0)2 9363 0660 to discuss wholesale and trade accounts.

SHIPPING LIMITED ship worldwide, with charges based upon location. Editions are usually dispatched from the showroom within 7 -10 business days. International delivery time-frame is based upon location and an estimate will be provided upon receipt of your order.

FRAMING OPTIONS

Left: John Olsen The Little Universe of the Sous Chef, 2011 Archival pigment print on Hahnemühle Fine Art paper Image size 77 x 82 cm Edition of 65

Framing not only presents the artwork in an appropriate and complimentary manner but also helps integrate the artwork into the environment. Framing acts to protect the artwork from short and long term damage so only the highest standards in archival processes are used and only archival materials contact the artwork.

Contact us for assistance or advice.

PRICES All prices shown in the accompanying price list are in Australian Dollars, are subject to availability and can be withdrawn or varied without notice. Feel free to contact us on +61 (0)2 9363 0660 for clarification.

Published by LIMITED Contemporary Limited Editions, May 2019 Images copyright © the respecitve artist, all rights reserved.

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Editioned fine art prints and multiples by leading Australian artists

2019 Collection

T: +61 2 9363 0660 info@contemporarylimitededitions.com www.contemporarylimitededitions.com Level 1 / 74 Queen Street Woollahra NSW 2025