Frederick Ronald Williams

(19271982 ) - Artworks
WILLIAMS Frederick Ronald You Yangs

Menzies Art Brands /Jul 24, 2014
31,113.88 - 38,028.08
Not Sold

Find artworks, auction results, sale prices and pictures of Frederick Ronald Williams at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert

 

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
342

Some works of Frederick Ronald Williams

Extracted between 342 works in the catalog of Arcadja
Frederick Ronald Williams - Trees And Rocks Ii

Frederick Ronald Williams - Trees And Rocks Ii

Original 1963
Estimate:

Price:

Lot number: 24
Other WORKS AT AUCTION
Description:
FREDERICK (FRED) RONALD WILLIAMS (1927-1982) Trees and Rocks II 1963 tempera and oil on board signed and dated 'Fred Williams 63' lower left bears title and cat. no. 12 on label verso 105 x 81 cm EXHIBITED: The Boxer Collection, University Art Gallery, University of Melbourne, 1-30 August 1974, cat. no. 30 (Possibly) The Boxer Collection, Albert Hall, Canberra, October – November 1977 (no catalogue) The Boxer Collection: Modernism, Murrumbeena and Angry Penguins , The Nolan Gallery, Tharwa, ACT, 17 December 1981 – 28 February 1982, cat. no. 21 Crossing Cultures: Art From the Boxer Collection, Drill Hall, Canberra, May – June 2000, cat. no. 58 LITERATURE: The Boxer Collection, University Art Gallery, University of Melbourne, 1974, p. 4; p. 4 (Possibly) The Boxer Collection, Albert Hall, Canberra, October – November 1977 (no catalogue) The Boxer Collection: Modernism, Murrumbeena and Angry Penguins , The Nolan Gallery, Tharwa, ACT, 1981, p. 3, 15; p. 14, (illustrated, pl. no. 12) Crossing Cultures: Art from the Boxer Collection, Drill Hall, Canberra, 2000, p. 12 Painted in the year he was awarded the Helena Rubenstein Travelling Scholarship, Trees and Rocks II, 1963, is a fine example taken from William’’s best loved period (1963-68), one which Patrick McCaughey defined as ‘the richest and most consistent five years of Williams creative life’’. McCaughey identifying the paintings of 1963-4 as those which ‘came to be regarded as the quintessence of Williams, a touchstone by which all his other landscape styles and modes were to be judged'. This five year period marked the Williams’’ coming of age as a painter. At thirty-six, he was enjoying both local and internal popular and critical success, having recently been included in the Whitechapel’’s Recent Australian Painting in 1961, the Tate’’ s Australian Painting exhibition of 1963 and the Australian Painting Today exhibition which travelled across Europe. The early 1960s was a period defined by the boom in the exhibition of and reception of Australian art in the UK which Williams savoured. However, whilst the art of compatriots such as Brett Whitely and Nolan became slowly integrated and a part of the London art scene, Williams remained focused on idiosyncratic Australian imagery. Although patterns of trees and rocks were present in William’’ s work from the 1950s, the current painting was inspired by an environment in which artist was by now comfortable working in. Often sketching and painting en plein air excursions in and around the granite hills of the You Yangs, 60km west of Melbourne, Williams now synthesised the motifs of fallen trees, weathered rocks and scattered shrubs into reduced geometric forms in a uniquely novel manner. This essential treatment of the geological formations and clustered native vegetation, densely worked and compactly arranged, in honey and ochre stained sky and land, render Tree and Rocks II , 1963 an abstract-cubist essay of the classic Williams landscape. When discussing the Trees and Rocks series of 1963, McCaughey noted how Williams, ‘was at home in the landscape … Trees and Rocks I and II remind us how much Williams remains a painter of feeling even in his most classical moments. Usually that feeling is channelled into augmenting his art but, occasionally, expressive energy boils over, as in these splendid paintings.’’ Oils from 1963 are either in institutional collections or tightly held by private collectors, making the sale of this well-known work, an exceptionally rare one.
Frederick Ronald Williams - Music Hall

Frederick Ronald Williams - Music Hall

Original 1956
Estimate:

Price:

Lot number: 466
Other WORKS AT AUCTION
Description:
FRED WILLIAMS (1927-1982) Music Hall 1956 etching and drypoint 16.0 x 15.0 cm numbered, signed and dated below image edition: 8/9 Provenance: Australian Galleries, Melbourne (label attached verso, no.200270) Private collection, Melbourne Reference: Mollison, J., Fred Williams: Etchings , Rudy Komon Gallery, Sydney, 1968, p.92, no.26 (illus., another example), p.22, pl.10 (illus., another example)
Frederick Ronald Williams - Landscape, Sherbrooke Forest

Frederick Ronald Williams - Landscape, Sherbrooke Forest

Original 1961
Estimate:

Price:

Lot number: 39
Other WORKS AT AUCTION
Description:
FRED WILLIAMS (1927-1982) Landscape, Sherbrooke Forest 1961-62 oil on board 121.0 x 90.0 cm signed lower right: Fred Williams Provenance: Private collection, Victoria Private collection, Sydney Related Works: Olinda Landscape , 1961, oil and tempera on composition board, 91 x 91 cm.; illus. in McCaughey, P., Fred Williams 1927-1982 , Bay Books, Sydney, 1980, p.140. Trees at Olinda , 1961, oil on composition board, 91 x 61 cm., illus. in McCaughey, P., Fred Williams 1927-1982 , Bay Books, Sydney, 1980, p.141. Sherbrook e, 1961, oil on composition board, 142.3 x 122 cm., Art Gallery of New South Wales; illus. in McCaughey, P., Fred Williams 1927-1982 , Bay Books, Sydney, 1980, p.144. Sapling Forest , 1961, oil on composition board, 152.7 x 183.3 cm., National Gallery of Victoria; illus. in McCaughey, P., Fred Williams 1927-1982 , Bay Books, Sydney, 1980, p.149. Sapling Forest , 1962, 119 x 180.3 cm., oil on composition board, Mertz Collection of Australian Art, University of Texas, Austin, USA., on loan to the National Gallery of Australia.
Frederick Ronald Williams - You Yangs

Frederick Ronald Williams - You Yangs

Original 1964
Estimate:
Starting price:

Price:

Lot number: 107
Other WORKS AT AUCTION
Description:
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
Frederick Ronald Williams - Fallen Tree

Frederick Ronald Williams - Fallen Tree

Original 1966
Estimate:

Price:

Lot number: 10
Other WORKS AT AUCTION
Description:
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
Arcadja LogoProducts
Subscriptions
Advertising
Sponsored Auctions
Subscriptions

Who we are
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr