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Sidney Robert Nolan

(1917 -  1992 ) Wikipedia® : Sidney Robert Nolan
NOLAN Sidney Robert  Mother And Child With Helicopter

Mossgreen /Nov 20, 2017
9,626.49 - 16,044.15
11,930.04

Find artworks, auction results, sale prices and pictures of Sidney Robert Nolan at auctions worldwide.
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Variants on Artist's name :

Sir Sidney Nolan

 

Along with Sidney Robert Nolan, our clients also searched for the following authors:
Donald Friend, Lloyd Frederic Rees, Arthur James Murch, Hans Heysen, Brett Whiteley, John Coburn, Cedric Emmanuel Flower
Artworks in Arcadja
2370

Some works of Sidney Robert Nolan

Extracted between 2,370 works in the catalog of Arcadja
Sidney Robert Nolan - Onvict And Mrs Fraser

Sidney Robert Nolan - Onvict And Mrs Fraser

Original
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Lot number: 33
Other WORKS AT AUCTION
Description:
Sir Sidney Robert Nolan, O.M., R.A. (1917-1992) Convict and Mrs Fraser signed \‘nolan\’ (lower left) and signed with initial \‘n\’ (centre left), further signed, inscribed and dated '... / for notes / on further paintings / No 9 / Figures. / nolan / Oct. 1958. / New York' on the reverse mixed media on paper 9 ¾ x 11 ¾in. (24.8 x 29.9cm.)
Sidney Robert Nolan -  Riverbend

Sidney Robert Nolan - Riverbend

Original 1966
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Lot number: 24
Other WORKS AT AUCTION
Description:
Description: SIDNEY NOLAN, (1917 – 1992), RIVERBEND, 1966, oil on canvas SIGNED: signed indistinctly lower right: Nolan 1966 DIMENSIONS: 152.5 x 122.0 cm PROVENANCE: Stanley Bard, New York The Stanley Bard Collection: Life at the Chelsea, Freeman's Auctions, Philadelphia, 16 May 2017, lot 43 Private collection, Melbourne ESSAY: Riverbend, 1966, is a companion piece to two of Sidney Nolan\’s multi-paneled masterworks, Riverbend I, 1964 – 65 (Australian National University); and Riverbend II, 1965 – 66 (News Limited, New York). It was previously part of one of America\’s most eccentric collections, sited at New York\’s infamous Chelsea Hotel where Nolan spent nearly five months living in a penthouse room from December 1965 to March 1966. Here, he worked at a feverish pace and created a range of vast narratives, all comprising nine panels, including the aforementioned Riverbend II, as well as Glenrowan, 1966 (Carnegie Museum of Art, Pittsburgh); Inferno, 1966 (on loan to the Art Gallery of South Australia); and Desert Storm, 1966 (Art Gallery of Western Australia). It was an incredibly fertile period and the painting on offer here provides significant insight into Nolan\’s creative process at the time. Until the mid-1950s, Nolan\’s medium of choice was Ripolin enamel but by the end of the decade, he was using both oil paint applied with brushes and fingers, and pigment mixed into polyvinyl acetate spread over the surface using squeegees and scrapers. In 1964, he was able to re-engage with his original Ned Kelly paintings from 1946 – 47, then on exhibition in London. Having not seen them for nearly twenty years, Nolan embarked on a new interpretive series using oils and as they developed, so did his technique, to a point where the paint became decidedly wet and juicy in appearance, as if Kelly and his protagonists were mired in rain and mud, evocative of the tragic aura hanging over the whole saga. At the end of 1964, he commenced Riverbend I, an installation-like musing on the story, interwoven with the artist\’s own familial memories and connection to the Goulburn River in Victoria. For Nolan, it was \‘really a reminiscence of a shallow river, a kind of billabong where the river winds round, that I walked in as a boy with my father. The bank falls in the water, and it\’s very cool and smells of tannin\’.1 Three months after its completion, Nolan\’s father died and this event led him to execute a second, more contemplative version, this time on canvas instead of the composition board he had previously employed. Completed over a staggeringly short five-day period between 30 December 1965 and 3 January 1966, Riverbend II was originally intended for the 1967 Montreal Expo but was bought instead by Rupert Murdoch and now hangs in the boardroom of his New York offices. By transferring to canvas, subtle differences appeared in the painterly application and Nolan created extra pieces, such as Riverbend, as he finalised the composition. Using a combination of sharp vertical trunks demarcated against a hazed and misty background, this painting is directly related to the sixth panel of Riverbend II where the ancient river gums have their roots partially submerged by the muddy waters. Like many other residents, Nolan probably gave the painting to the proprietor of the Chelsea Hotel, Stanley Bard, in lieu of rent for the expensive penthouse. In doing so, Riverbend joined other notable artworks in the Bard collection by artists such as Tom Wesselmann and Larry Rivers, as well as the Australians Brett Whiteley and Tony Woods. 1. The artist, 1969, quoted in Pearce, B., Sidney Nolan, Art Gallery of New South Wales, Sydney, 2007, p. 55 ANDREW GAYNOR
Sidney Robert Nolan -  Vase Of Flowers

Sidney Robert Nolan - Vase Of Flowers

Original 1969
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Lot number: 119
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§ SIDNEY NOLAN (1917-1992) Vase of Flowers 1969 oil on paper inscribed, dated and signed verso: From: / Estate Of Cynthia Nolan / Left To Jinx Nolan. / Jinx Nolan. / Precursor To Paradise Gardens. / It Has Never Been Exhibited Or Published. / April 2002 / 22 June 69 / Nolan 29 x 24cm PROVENANCE: Gifted from Jinx Nolan Private collection, Melbourne Mossgreen, Sydney, 21 Nov 2016, lot 122 Private collection, Melbourne
Sidney Robert Nolan -  Mother And Child With Helicopter

Sidney Robert Nolan - Mother And Child With Helicopter

Original 1966
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Lot number: 45
Other WORKS AT AUCTION
Description:
Description: SIDNEY NOLAN (1917-1992) Mother and Child with Helicopter, 1966 oil on board signed and dated lower right: Nolan 1966 signed and dated verso: Nolan 5 Oct 66 121 x 121 cm PROVENANCE Private collection, Melbourne ESSAY Sir Sidney Nolan is one of Australia\’s most recognised and significant artists of all time. While best known for his depictions of the Kelly gang and the explorers Burke and Wills, Nolan pioneered an artistic expression that reflected Australian history, mythology and identity. Nolan\’s technique and subject matter is often synonymous with his desire to show Australian stories of failure, confusion and loss in an honest and raw way. While Nolan was particularly interested in, and perhaps most famous for, the plight of Burke and Wills, the harshness of the Australian landscape and the suffering of the Anzacs at Gallipoli, he did demonstrate an interest in the Vietnam war, and the impact on Vietnamese civilians, as seen in this image. In this picture, Nolan actualises both a personal and public lament, showcasing the terrible impact of war on innocent lives. Although he was more vocal regarding the impact of Gallipoli, this image is indicative of Nolan\’s far-reaching empathy, and social concerns. In the same year this artwork was created, the Mertz collection was bought by American millionaire Harold Mertz, and went on display in Adelaide, and later taken to the US.[1] Primarily featuring Nolan, Boyd and other acclaimed Australian artists, American art experts Richard Madigan and Roy Moyer praised the exhibition, stating that \‘the new generation artists of the international school will never capture the soul of your country as these men have\’ and that \‘the crudeness, even muddiness, of Nolan and Boyd is a characteristic entirely of its own.\’[2] Nolan is far better known for painting elegantly dressed women from the early 1960s, therefore making this work especially intriguing. Painted in a key period of Nolan\’s career, it provides a snapshot into the various characters that made up his artistic repertoire. The dark colours and sweeping brushstrokes, coupled with the distressed faces of the mother and child, capture Nolan\’s clear sense of compassion, especially when compared with his earlier portraits of young ladies.
Sidney Robert Nolan - )australian Landscape Iii

Sidney Robert Nolan - )australian Landscape Iii

Original
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Lot number: 45
Other WORKS AT AUCTION
Description:
Sidney Nolan (1917-1992) Australian Landscape III signed lower right: 'nolan'; inscribed and titled verso: 'SYDNEY NOLAN / AUSTRALIAN LANDSCAPE III' ripolin on paper on board 51.0 x 75.0cm (20 1/16 x 29 1/2in). Footnotes PROVENANCE Bonython Galleries, Sydney Corporate collection, Sydney, acquired from the above in 1979
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