Frederick Ronald Williams

(19271982 ) - Artworks
WILLIAMS Frederick Ronald Saplings, Poets Lane Ii

Menzies Art Brands /Oct 31, 2013
38,899.49 - 49,508.44
Not Sold

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Variants on Artist's name :

Williams Fred

 

Along with Frederick Ronald Williams, 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
329

Some works of Frederick Ronald Williams

Extracted between 329 works in the catalog of Arcadja
Frederick Ronald Williams - Hill At Colo Vale

Frederick Ronald Williams - Hill At Colo Vale

Original 1958
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Lot number: 138
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Description:
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.)
Frederick Ronald Williams - Summer Snow At Perisher

Frederick Ronald Williams - Summer Snow At Perisher

Original 1976
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Lot number: 12
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Description:
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 well–travelled 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.
Frederick Ronald Williams - Hillside No. 5

Frederick Ronald Williams - Hillside No. 5

Original 1964
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Net Price
Lot number: 70
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Description:
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.
Frederick Ronald Williams - Saplings, Poets Lane Ii

Frederick Ronald Williams - Saplings, Poets Lane Ii

Original 1959
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Lot number: 40
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Description:
FRED WILLIAMS (1927-1982) Saplings, Poets Lane II 1959 oil on board 39.0 x 42.5 cm estate stamp verso Provenance: Estate of the artist (estate no. 481) Niagara Galleries, Melbourne (label attached verso) Private collection, Melbourne Exhibited: Fred Williams - Landscapes 1957-60 , Niagara Galleries, Melbourne, 5 February - 13 March 2013, cat.16 (illus.) Reference: Mollison, J., A Singular Vision: The Art of Fred Williams , Australian National Gallery, Canberra, 1989, p.45 (illus.) Fred Williams - Landscapes 1957-60 , exhibition catalogue, Niagara Galleries, Melbourne, 2013, cat.16 (illus.) Related Works: Saplings, Poets Lane I , 1959, oil on composition board, 43.0 x 38.5 cm, illus. in Fred Williams - Landscapes 1957-60 , exhibition catalogue, Niagara Galleries, Melbourne, 2013, cat.15
Frederick Ronald Williams - Lysterfield

Frederick Ronald Williams - Lysterfield

Original 1968
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Gross Price
Lot number: 66
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Description:
Frederick Ronald Williams (1927-1982) Lysterfield (1968) signed 'Fred Williams.' (lower centre left) oil on canvas 48 x 60in. (121.9 x 152.5cm.) with Rudy Komon, Sydney, from whom purchased by Leopold de Rothschild, Jan. 1972. THE PROPERTY OF THE TRUSTEES OF THE LATE LEOPOLD DE ROTHSCHILD Sydney, Rudy Komon Gallery, 12th Anniversary Show, Dec. 1971. In 1965 Williams started sketching regularly at Lysterfield, which was a short car ride from his home at Upwey, Victoria, where he had moved in 1963. 'The landscape presented a variety of motifs. Its gently undulating country suggested some of the Hillside and Hummock landscapes. Lysterfield contained dense areas of bush as well as cleared country. But it was also a landscape of plains. It brought together many of Williams's principal motifs of the years since 1963 and he treated the Lysterfield landscapes as both a summing up and a new start ... The Lysterfield landscapes represent the completion of one phase of Williams' art where his pictorial language came to full maturity. He refined his method of painting to the point where it was as spontaneous as handwriting. The particularity of the scene fell away and the spare, elementary language of pictorial form emerged with crystal clarity. At the end of the Lysterfield paintings Williams dominated his own art with a supreme confidence.' (P. McCaughey, Fred Williams, 2008, p.184) The present work, painted in April 1968, is part of the Bushfire series Williams painted in response to the fires that started on 19 February 1968 near Upwey and continued into autumn: 'In 1968 Williams and his family saw the landscape around them drastically transformed by raging bushfires. Even though their house was spared, it was a terrifying experience. The transition from bushfire to burnt landscape to regeneration became the subjects of many striking paintings and gouaches of the period.' (D. Hart, Fred Williams Infinite Horizons, Canberra, 2011)
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