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Max Dupain

Australia (1911 -  1992 ) Wikipedia® : Max Dupain
DUPAIN Max Sunbaker

Deutscher and Hackett
Aug 29, 2018
Find artworks, auction results, sale prices and pictures of Max Dupain at auctions worldwide.
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Variants on Artist's name :

Dupain Maxwell Spencer

 

Artworks in Arcadja
859

Some works of Max Dupain

Extracted between 859 works in the catalog of Arcadja
Max Dupain - Sunbaker

Max Dupain - Sunbaker

Original 1937
Estimate:
Starting price:

Price:

Gross Price
Lot number: 65
Other WORKS AT AUCTION
Description:
Description: MAX DUPAIN, (1911 – 1992), SUNBAKER, 1937, silver gelatin photograph SIGNED: signed and dated in image lower right: – Max Dupain '37 – DIMENSIONS: 37.0 x 40.0 cm PROVENANCE: Private collection Sydney, a gift from the artist Private collection, Sydney LITERATURE: Newton, G., Max Dupain: Photographs 1928 – 80, The David Ell Press, Sydney, 1980, p. 64 (illus. another example) Max Dupain's Australia, Viking Press, Sydney, 1986, p. 104 (illus., another example) Ennis, H., Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p. 18 White, J., Smee, S. and Cawood, M., Dupain's Beaches, Chapter and Verse, Sydney, 2000, p. 69 (illus. another example) Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, pp. 40, 50, 104 (illus., another example), 294 ESSAY: There are only a handful of artworks that have been as influential on the creation of a national psyche as Max Dupain\’s photograph, Sunbaker, 1937. Its enduring power derives from the incorporation of twin social mythologies prevalent during the inter-war period: that of the \‘old sunburnt country\’ and physical health as a symbol for the strength and potential of Modernity. Sunbaker would come to represent in a single recognisable image the new outdoor Australian way of life: the simplicity of composition, dramatic contrast of light, and purity of context coincided to create a powerful and iconic image. Judy Annear, Curator of Photography at the Art Gallery of New South Wales, Sydney attributed this to Dupain\’s ability to \‘adroitly harness a moment in time that came to symbolise the ambitions of a nation\’.1 The story of how this modest snapshot from within one of Dupain\’s holiday albums, compiled following a trip to the south coast of New South Wales in 1937 with his friends Harold Salvage and Chris Vandyke, would become the subject of such massive exposure in the latter half of the 20th century is a tale of coincidence. This version of Sunbaker, identical in size and format to those in most of Australia\’s state and national collections, is the second version of two pictures that Dupain took at the same time in 1937. The artist chose to publish the other, Sunbaker II, 1937, in a monograph of his work in 1948, and sometime after this, its negative was lost.2 It wasn\’t until 1975, thanks to the combined marketing power of a retrospective exhibition of Dupain\’s photographs and a later survey of Australian photography, that the image was presented to wide national audiences. The Max Dupain: Retrospective at the Australian Centre for Photography, Sydney in 1975 used Sunbaker as a promotional image and four years later, it was illustrated on the back cover of the catalogue for Australian photographers: the Philip Morris Collection. The images in Australian photographers were personally selected by James Mollison, founding director of the National Gallery of Australia, Canberra.2 In formal terms, the composition of Sunbaker marked a departure from the artist\’s earlier surrealist studio montages, which often featured full-length female nudes. Creating a visual correlation between the geometric solidity of a pyramid and the physical strength of a young man, Dupain\’s photograph sits in a neat nexus between modernist formalism and an idealistic focus on physical wellbeing in the interwar years. This young man, with his bronzed skin and muscles glistening with salt, sand, sweat and seawater would come to embody the ideal antipodean (ironically, he was an Englishman who had recently emigrated to Australia). The subject does not call out to the viewer, encouraging them to emigrate to the idealised southern land of sunshine and good health, as he would have in contemporary advertisements. Instead, we as viewers, intrude on his intimacy and respite, the reduced form of his recumbent body jutting out into the foreground of the photograph, almost transcending the barrier of the picture plane. The austere simplicity and lack of spatial context of Dupain\’s composition creates a timeless and universal space where man is at one with the land, resting on the horizon\’s edge. 1. Annear, J., Photography: The Art Gallery of New South Wales Collection, Art Gallery of New South Wales, Sydney, 2007, pp. 142 – 149 2. Newton, G., \‘The Sunbaker\’ in White, J., Dupain\’s Beaches, Chapter & Verse, Sydney, 2000, p. 68 3. Annear, J., Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, p. 46 LUCIE REEVES-SMITH
Max Dupain - Sunbaker

Max Dupain - Sunbaker

Original 1937
Estimate:

Price:

Gross Price
Lot number: 5
Other WORKS AT AUCTION
Description:
Max Dupain (1911-1992) Sunbaker, 1937, printed 1970s signed and dated lower right: 'Max Dupain '37' silver gelatin print 33.0 x 40.0cm (13 x 15 3/4in). Footnotes PROVENANCE The Photographers' Gallery, London (label attached verso) Mr John Gow (Gow Langsford Gallery), New Zealand Private collection, Queensland EXHIBITED The Thirties and Australia, S.H. Ervin Gallery, Sydney, 19 June – 13 July 1980 (another example) Max Dupain Retrospective 1930-1980, Art Gallery of New South Wales, Sydney, 29 August – 28 September 1980 (another example) Ten Years on, Art Gallery of New South Wales, Sydney, January 1986 (another example) Celebrity Choice – Sam Neill, Art Gallery of New South Wales, Sydney, 8 January – 8 February 1987 (another example) Four Photographers, Art Gallery of New South Wales, Sydney, 2 June – 19 August 1990 (another example) Fine and Mostly Sunny. Photographs from the collection, Art Gallery of New South Wales, Sydney, 28 September – 1 December 1991 (another example) Max Dupain – An Appreciation, Art Gallery of New South Wales, Sydney, 11 August 1992 - 30 August 1992 (another example) Soft Shadows and Sharp Lines. Australian Photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 30 September – 17 November 2002 (another example) On the Beach: with Whiteley and fellow Australian artists, The Brett Whiteley Studio, Surry Hills, 1 March – 29 June 2003 (another example) Modern Times, Powerhouse Museum, Ultimo, 1 August 2008 – 8 February 2009 (another example) The Photograph and Australia, Art Gallery of New South Wales, Sydney, 21 March – 8 June 2015; Queensland Art Gallery, Brisbane, 4 July 2015 – 11 October 2015 (another example) LITERATURE Hal Missingham and Max Dupain, Max Dupain Photographs, Ure Smith, Sydney, 1948, pl. 7 (illus., another example) S.H. Ervin Gallery, The Thirties and Australia, S.H. Ervin Gallery, Sydney, 1980, p. 18, cat. 101 (illus., another example) Gael Newton, Max Dupain retrospective 1930-1980, Art Gallery of New South Wales, Sydney, 1980, cat. 28 (illus., another example) Renee Free and Gael Newton, Onsight No. 7 – PROFILES, Sydney, 1984, p. 22 (illus., another example) Max Dupain, Max Dupain's Australia, Viking, Victoria, 1986, p.104-5 (illus., another example) Sandra Byron, 'Photography', in Art Gallery of New South Wales Collection Handbook, Sydney, 1988, p. 127 (illus., another example) Joseph Lebovic Gallery and Helen Ennis, 'Twentieth century photography', in Masterpieces of Australian Photography, Art Gallery of New South Wales, Sydney, 1989, pp. 150-1, cat. 262 (illus., another example) Sandra Byron, Fine and Mostly Sunny. Photographs from the Collection, Art Gallery of New South Wales, Sydney, 1991, cat. 22 (another example) Robin Bruckner, Art and Design Book 1, Art Gallery of New South Wales, Sydney, 1995, p. 144 (illus., another example) Author Unknown, Workover News, Sydney, 1995 (illus. on cover, another example) Gael Newton, 'It was a Simple Affair. Max Dupain Sunbaker', in Brought to Light. Australian Art 1850-1965 from the Queensland Art Gallery Collection, Queensland Art Gallery, Brisbane, 1998, pp. 142-4, 146-7 (illus., another example) NAKADA Masaaki (ed.), Domo – Australian Living Handbook, Japan, 1999, p. 17, pl. 5 (illus., another example) Bruce James 'Australian Collection. Australian Photography', in Art Gallery of New South Wales Handbook, Art Gallery of New South Wales, Sydney, 1999, p. 204 (illus., another example) Robert Mc Farlane, 'Max Dupain', in Black + White – The Masters, Art Gallery of New South Wales, Sydney, 1999, p. 195 (illus., another example) Jill White, Sebastian Smee, and Mathew Cawood, Dupain's Beaches, Chapter & Verse, Sydney, 2000, pp.68-71, front cover (illus., another example) Judith White, 'Sydney-side-on' in Look, Art Gallery of New South Wales, Sydney, April 2000, p. 28 (illus., another example) Leone Huntsman, 'The beach and popular culture' in Sand in our Souls, Melbourne University Press, Carlton, 2001, pp. 141-2 (illus., another example) Natasha Bullock, Soft Shadows and Sharp Lines. Australian Photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 2002, n.p. (illus., another example) Natasha Bullock, 'Soft and sharp. How Australian photography moved between two styles' in Look, Sydney, October 2002, p. 22 (illus., another example) Jill White, Frank Moorhouse, Dupain's Australia, Chapter & Verse, Sydney, 2003, p. 22 (illus., another example) Judy Annear, 'Australian Modernism' in Photography. Art Gallery of New South Wales Collection, Art Gallery of New South Wales, Sydney, 2007, pp. 136, 142, 195 (illus., another example) Helen Ennis, 'Localism and Internationalism' in Photography and Australia, Reaktion Books, London, 2007, pp. 112-14, pl. 64 (illus., another example) Judy Annear, The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, p. 271 (illus., another example)
Max Dupain - Sunbaker

Max Dupain - Sunbaker

Original 1937
Estimate:

Price:

Net Price
Lot number: 59
Other WORKS AT AUCTION
Description:
Max Dupain Sunbaker , 1937 silver gelatin photograph , 37.0 x 42.0 cm , signed and dated within image Private collection, Melbourne Reference: , Newton, G., Max Dupain: Photographs 1928 - 80, The David Ell Press, Sydney, 1980, p. 64 (illus., another example) Max Dupain's Australia, Viking Press, Sydney, 1986, p. 104 (illus., another example) Ennis, H., Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p. 18 White, J., Smee, S. and Cawood, M., Dupain's Beaches, Chapter and Verse, Sydney, 2000, p. 69 (illus. cover, another example)
Max Dupain - Sunbaker

Max Dupain - Sunbaker

Original 1937
Estimate:
Starting price:

Price:

Gross Price
Lot number: 6
Other WORKS AT AUCTION
Description:
Description: MAX DUPAIN, (1911 – 1992), SUNBAKER, 1937 printed 1970s, silver gelatin photograph SIGNED: signed and dated in image lower right: – Max Dupain '37 – DIMENSIONS: 39.0 x 42.0 cm PROVENANCE: The Print Room, Sydney Private collection, Sydney, acquired from the above in 1992 LITERATURE: Newton, G., Max Dupain: Photographs 1928 – 80, The David Ell Press, Sydney, 1980, p. 64 (illus. another example) Max Dupain's Australia, Viking Press, Sydney, 1986, p. 104 (illus., another example) Ennis, H., Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p. 18 White, J., Smee, S. and Cawood, M., Dupain's Beaches, Chapter and Verse, Sydney, 2000, p. 69 (illus. another example) Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, pp. 40, 50, 104 (illus., another example), 294 ESSAY: There are only a handful of artworks that have been as influential on the creation of a national psyche as Max Dupain\’s photograph, Sunbaker, 1937. Its enduring power derives from the incorporation of twin social mythologies prevalent during the inter-war period: that of the \‘old sunburnt country\’ and physical health as a symbol for the strength and potential of Modernity. Sunbaker would come to represent in a single recognisable image the new outdoor Australian way of life: the simplicity of composition, dramatic contrast of light, and purity of context coincided to create a powerful and iconic image. Judy Annear, Curator of Photography at the Art Gallery of New South Wales, Sydney attributed this to Dupain\’s ability to \‘adroitly harness a moment in time that came to symbolise the ambitions of a nation\’.1 The story of how this modest snapshot from within one of Dupain\’s holiday albums, compiled following a trip to the south coast of New South Wales in 1937 with his friends Harold Salvage and Chris Vandyke, would become the subject of such massive exposure in the latter half of the 20th century is a tale of coincidence. This version of Sunbaker, identical in size and format to those in most of Australia\’s state and national collections, is the second version of two pictures that Dupain took at the same time in 1937. The artist chose to publish the other, Sunbaker II, 1937, in a monograph of his work in 1948, and sometime after this, its negative was lost.2 It wasn\’t until 1975, thanks to the combined marketing power of a retrospective exhibition of Dupain\’s photographs and a later survey of Australian photography, that the image was presented to wide national audiences. The Max Dupain: Retrospective at the Australian Centre for Photography, Sydney in 1975 used Sunbaker as a promotional image and four years later, it was illustrated on the back cover of the catalogue for Australian photographers: the Philip Morris Collection. The images in Australian photographers were personally selected by James Mollison, founding director of the National Gallery of Australia, Canberra.2 In formal terms, the composition of Sunbaker marked a departure from the artist\’s earlier surrealist studio montages, which often featured full-length female nudes. Creating a visual correlation between the geometric solidity of a pyramid and the physical strength of a young man, Dupain\’s photograph sits in a neat nexus between modernist formalism and an idealistic focus on physical wellbeing in the interwar years. This young man, with his bronzed skin and muscles glistening with salt, sand, sweat and seawater would come to embody the ideal antipodean (ironically, he was an Englishman who had recently emigrated to Australia). The subject does not call out to the viewer, encouraging them to emigrate to the idealised southern land of sunshine and good health, as he would have in contemporary advertisements. Instead, we as viewers, intrude on his intimacy and respite, the reduced form of his recumbent body jutting out into the foreground of the photograph, almost transcending the barrier of the picture plane. The austere simplicity and lack of spatial context of Dupain\’s composition creates a timeless and universal space where man is at one with the land, resting on the horizon\’s edge. 1. Annear, J., Photography: The Art Gallery of New South Wales Collection, Art Gallery of New South Wales, Sydney, 2007, pp. 142 – 149 2. Newton, G., \‘The Sunbaker\’ in White, J., Dupain\’s Beaches, Chapter & Verse, Sydney, 2000, p. 68 3. Annear, J., Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, p. 46 LUCIE REEVES-SMITH
Max Dupain - Aluminium

Max Dupain - Aluminium

Original 1965
Estimate:

Price:

Lot number: 213
Other WORKS AT AUCTION
Description:
Description: MAX DUPAIN (1911-1992) (Aluminium), 1965 silver gelatin photograph dated, inscribed and stamped verso bears artist\’s studio stamp verso 25 x 19.5 cm LITERATURE: Sun Herald, July 19, 1965, p. 47 GST: Quantity: Symbol: Grade: Categories: Australian & International Art > Photographs (Art)
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