Bonhams /Nov 25, 2013
€406,669.38 - €542,225.84
Artworks in Arcadja335
Some works of Frederick Ronald WilliamsExtracted between 335 works in the catalog of Arcadja
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Description: You Yangs gouache on paper signed lower right: Fred Williams signed lower right: Fred Williams (c) The Estate of Fred Williams. Licensed by VISCOPY Ltd, Australia Powell St Gallery, Melbourne, 1975|Private collection, Melbourne|Menzies, Melbourne, 20 March 2014, lot 83|Private collection, Sydney 57.0 x 76.0 cm FRED WILLIAMS gouache on paper 1964
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FRED WILLIAMS (1927 - 1982) FALLEN TREE, 1966 oil on canvas 90.0 x 80.0 cm signed lower centre: Fred Williams Rudy Komon Gallery, Sydney (stock number 1504) Bruce Gyngell, Sydney, acquired from the above in 1968 Geoff K. Gray, Sydney, March 1987 Niagara Galleries, Melbourne Private collection, Sydney Charles Nodrum Gallery, Melbourne Private collection, Melbourne, acquired from the above in 1999 Dealer's Choice Exhibition , Rudy Komon Gallery, January 1968 Fallen Tree , 1968, oil on canvas, 122.5 x 122.5 cm, Private collection, illus. in Hart, D., Fred Williams: Infinite Horizons , National Gallery of Australia, Canberra, 2011, p. 215 Fallen Tre e, 1967, etching, illus. in Mollison, J., Fred Williams: Etchings, Rudy Komon Gallery, Sydney, 1968, cat. 246 In Fred Williams's Fallen Tree , 1966, harmonies of dominant verticals transversed by the individuality of the single angle are under the command of the horizontal, encompassed within the circle. It is the visual equivalent of a series of beautiful sounds, abstracted from nature where inspiration was found. As with Williams's landscapes, it is a singular work of art, arresting in directness and seeming simplicity in its exploration of the profound. A tall tree has fallen between the trunks of other gums. The landscape climbs upwards behind to reach the horizon and a clear sky. Landforms emerge through the colour application of paint; and textures give bark to the gums. The subject would seem ordinary and everyday, not the stuff from which great art is made. But in the hands of Williams such things become so. Looking at this transcript of Australian landscape, it is this awareness that marks the beginning of an engrossing journey of aesthetic pleasure. It is like the excitement of the first captivating notes of a concerto, the seeing of sound and the sound of seeing. Unique to the created work itself, analogies are merely means of guidance. Turning from the once perceived monotony of fields and forests of eucalypts, Williams painted melodies of nuanced colour, textured, encrusted paint, of detail touching the universal. As often observed, Williams discovered new variety and beauty in the sameness of the Antipodes. Superbly minimal as are his works of this time, the interplay between the classic flatness of the picture plane and the illusion of depth is Williams at his best. While trunks recede in ordered recession, the dominance of those on the picture surface keep the rightful order in its place. Then one falls sideways into the picture space, creating an illusion of depth. The tug-of-war between surface and depth continues in vertical immobility versus angular movement. It fascinated Williams and he explored it in a number of earlier works known as 'The Forest Series' of 1961–62, and especially an oil of 1962 of the same title, not as close in focus, with the fallen tree leaning the other way. 1 The later Fallen Tree of 1968 (private collection) is almost identical to our painting, also circular of composition, and included in the recent Fred Williams retrospective at the National Gallery of Australia. The etching Fallen Tree , 1967 is close in imagery, impressions being in the best collections. Remarking on the monotony of the Australian landscape and lack of a focal point, Williams said, '... if there's going to be no focal point in a landscape [then] it had to [be built] into the paint'. 2 Here, the circle itself creates that focal point. 1. Fallen Tree , 1962, oil on composition board, 90 x 121 cm, private collection, illus. in McCaughey, fig. 129, p.142. See also Fallen Tree , 1962, watercolour and gouache, 37.5 x 49 cm, Art Gallery of New South Wales, Sydney 2. Fred Williams to James Gleeson, interview 3 October 1978 for Australian National Gallery Interview Series, quoted in Zdanowicz, I., and Coppel, S., Fred Williams: An Australian Vision , The British Museum Press, London, 2003, p. 77 DAVID THOMAS
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FRED WILLIAMS (1927-1982) Hill at Colo Vale 1958-59 aquatint, engraving, drypoint and flat biting 12.5 x 12.5 cm numbered and signed below image inscribed verso: 173/ 138A/ P9175 edition: 4/22 Provenance: Private collection, Melbourne Reference: Mollison, J., Fred Williams Etchings, Rudy Komon Gallery, Sydney, 1968, p.116, no.173 (illus.)
Auction: Bonhams -Nov 25, 2013 - SydneyLot number: 12
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Fred Williams (1927-1982) Summer Snow at Perisher, 1976 signed 'Fred Williams' lower left oil on canvas 134.8 x 152.7cm (53 1/16 x 60 1/8in). Footnotes PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) Ms Dawn O'Donnell, Sydney The Dawn O'Donnell Bequest: NIDA Foundation, Sydney Deutscher-Menzies, Australian & International Fine Art , Sydney, 16 December 2009, lot 33 Private collection, Sydney EXHIBITED Fred Williams: A Retrospective , Australian National Gallery, Canberra, 7 November 1987 - 31 January 1988, cat. 170 (illus.) Fred Williams: Paintings , Rex Irwin Art Dealer, Sydney, 26 April - 4 June 1994, cat. 6 LITERATURE James Mollison, A Singular Vision: The Art of Fred Williams , Oxford University Press, Melbourne, 1989, p. 197 (illus.) Art and Australia , Sydney, vol. 31, no. 3, Autumn 1994, p. 305 (illus.) Summer Snow at Perisher 1976 was painted in the mid seventies during a time of great transition in the work of Fred Williams, particularly in terms of palette, perspective and approach to his subject matter. As the decade opened the artist found a new palette and expressiveness, which would transform his art. Patrick McCaughey comments, 'The 1974 landscapes mark the turning-point. The difficulties, the great challenge in method, colour and subject matter, were confronted in the studio and absorbed into Williams's new grand manner.'1 The refined minimalist landscapes of the 1960s gave way to a new expressionism with paint applied in richly-coloured daubs as though Williams was giving air to the most minute forest flower, the kaleidoscopic colours of sky reflected in a pool or the thick tangle of dense bush. This metamorphosis was clear in 1972 73, in the collection of the Queensland Art Gallery, which is definitively Matisse-like in its lavish use of exotic colours. Notably, he began to record changes in weather conditions and light throughout the course of the day as can be observed in the triptych of 1974 and he dramatically broadened his subject matter beyond the welltravelled confines of the Victorian landscape. Images of the Queensland rainforest emerged, along with the South Australian coastline and Erith Island off the Tasmanian coast. Against this backdrop came a concise but remarkable series of works depicting the Kosciuszko National Park painted in the grand romantic tradition of Turner in the Italian Alps and Eugene von Guérard in the Snowy Mountains over a century before Williams. In 1972 Williams was appointed to the Commonwealth Art Advisory Board and in 1975 he was appointed to the Interim Council of the Australian National Gallery in Canberra (now the National Gallery of Australia). Both roles brought him to Canberra regularly and in the summer of 1975 Williams and his family stayed with friends in the Kosciuszko Ranges.2 He observed, 'It's the kind of country you have to be born into or be just plain 'hardy' but tremendously attractive to look at. The fascinating patches of snow form themselves into inventive shapes...the day has everything weather wise. There is rain, sleet & snow, lowering blue clouds and brilliant sunshine'.3 Despite the weather fluctuations Williams worked whenever the conditions permitted capturing the unique beauty of summer wildflowers, dried grasses, exposed rocks and the drifts of snow left behind in the cold shadows after late spring snow falls had melted. He captured the fast moving mists and cloud formations and the elemental sense felt by simply being in the mountains. He wrote, 'I find a secluded spot away from people & the wind & I make a very large effort. Working on half a dozen pictures it strikes me as being a very dark landscape... The shapes of the snow are fascinating & some of the sketches I attempt to do "portraits" of certain areas the snow areas!'4 McCaughey comments that Williams made a number of photographs of Guthega and Kosciuszko when flying back and forth to Canberra in both 1975 and 1976 and it is this aerial perspective that is found in 1976 and the related work 1976-77, in the collection of the National Gallery of Australia. The power and mastery of the series was acknowledged at the time they were painted when in 1976 Williams won the Wynne Prize for 1976 and the Trustees' Watercolour Prize for his gouache. 1 Patrick McCaughey, Fred Williams 1927-1982 , Murdoch Books, Sydney 1996 (revised edition), p. 263 2 Op.cit., McCaughey pp. 224-225 3 Fred Williams diary quoted in Deborah Hart, Fred Williams Infinite Horizons , National Gallery of Australia, Canberra, 2011, p. 142 4 Ibid. p. 142-43.
Auction: Freeman -Nov 3, 2013 - PhiladelphiaLot number: 70
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FREDERICK RONALD WILLIAMS (australian, 1927-1982) "HILLSIDE NO. 5" Signed bottom left, gouache and watercolor on paper Executed in 1964 14 1/4 x 22 1/4 in. (36.2 x 56.5cm) provenance: Rudy Koman Art Gallery. The Collection of Bill and Domini Morrell, Australia. Private Collection, Virginia. Adhered to a fabric lined support in places verso. Rippling evident mainly in upper 1/4 of sheet, possibly due to the working method of the artist or method of attaching sheet to support. Various, scattered stray ink marks verso.