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Frederick Ronald Williams

(1927 -  1982 )
WILLIAMS Frederick Ronald  Blue Kite Kew Billabong

Deutscher and Hackett
Nov 29, 2017
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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
470

Some works of Frederick Ronald Williams

Extracted between 470 works in the catalog of Arcadja
Frederick Ronald Williams - English Landscape

Frederick Ronald Williams - English Landscape

Original 1954
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Lot number: 217
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Description:
FRED WILLIAMS (1927-1982) English Landscape c.1954 watercolour on card signed lower right: Fred Williams 37 x 54cm PROVENANCE: The Collection of Richard (Dick) and Joan Crebbin, Sydney LITERATURE: Gleeson, J., In Conversation with Fred Williams, interview transcript, 3 October 1978: "When I worked in England I made gouache paintings outside, mainly in Sussex, which is very lush. For every painter who sat down or stood up to paint in England everything was symmetrical. They had planted trees here, put a church there - and everything was in the right place" OTHER NOTES: Fred worked part-time at Savage's Picture Framer's in England during the mid-1950's, where he would take offcuts of card and use them for his gouache artworks.
Frederick Ronald Williams -  Blue Kite Kew Billabong

Frederick Ronald Williams - Blue Kite Kew Billabong

Original 19th
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Lot number: 26
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Description: FRED WILLIAMS, (1927 – 1982), BLUE KITE, KEW BILLABONG I (KEW BILLABONG, OLD KITE), 1976, oil on canvas SIGNED: bears inscription verso: FRED WILLIAMS / KEW BILLABONG, OLD KITE. 1976 / … / UNSIGNED (Lyn Williams) authenticated by Lyn Williams DIMENSIONS: 106.5 x 96.5 cm PROVENANCE: The artist's estate, Melbourne Christies, Sydney, 14 November 1988, lot 272 Carolyn Palliardi, Melbourne, 1996 Lauraine Diggins Fine Art, Melbourne, 1996 Private collection, Melbourne Lauraine Diggins Fine Art, Melbourne, 1997 (labels attached verso) Private collection, USA Private collection, Melbourne EXHIBITED: 19th & 20th Century Australian Painting, Sculpture and Decorative Arts, Lauraine Diggins Fine Art, Melbourne, 1996, cat. 90 19th & 20th Century Australian Painting, Sculpture and Decorative Arts, Lauraine Diggins Fine Art, Melbourne, 1998, cat. 69 ESSAY: In April 1975, Fred Williams began work on a major series of paintings based on the billabong at Kew, a place within easy reach of his home. In the thirty or more paintings of the series, Williams changed his focus from the broad Australian panorama to the enclosed, intimate view. It was a secluded site, providing Williams with a place of retreat, peace and refreshment, ideal for embarking on a new direction in his art. While the first works were more traditional in terms of descriptive landscapes, the later embraced wider aesthetic interests, as in Blue Kite, Kew Billabong I (Kew Billabong, Old Kite), 1976. It is not uncommon to compare or liken these Billabong paintings to Claude Monet's Waterlilies series, inspired by his garden at Giverny. The obvious reference to water, flowers, reflections and quietude aside, it is more in the way in which each artist explored ideas and technical possibilities that they complement each other. They also produced transcendentally beautiful works of art. Williams' biographers Patrick Mc Caughey and James Mollison both comment on his adoption, in this Billabong series, of a more Impressionist approach, mentioning the use of small brushstrokes and interest in bright colour, light and reflections. Mollison continued, 'The surface of the canvas becomes a mosaic of deliberate thick marks of purples, blues and greens '...with flickering accents of rose-pink and orange\’.1 The description fits our painting as much as any in the series. Referring to other Billabong works, Mc Caughey noted the 'light reflecting and refracting on water. Likewise, the deep, purplish-blue tonalities relieved by a lighter, more decorative range of pinks, reds, ochres and aqua greens, found in Monet, are Williams' basic palette for the series. Like Monet at Giverny, Williams had deliberately circumscribed his view and worked into the motif\’.2 While the presence of fore and far shoreline, and the blue kite with its brilliant trail of red provide figurative elements, Blue Kite, Kew Billabong I (Kew Billabong, Old Kite) has the appeal of an abstract painting. Plants and the detritus of the city are transformed by deft dabs and strokes of the brush into a lively surface of colour. Through this fluent working of surface paint within a shallow pictorial field, Blue Kite, Kew Billabong I (Kew Billabong, Old Kite) takes on the richness of a tapestry, touched with an Oriental aesthetic and a flavour of the transcendental. 1. Mollison, J, A Singular Vision: the Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 201 2. Mc Caughey, P., Fred Williams, Bay Books Pty Ltd, Sydney, 1980, p. 286 DAVID THOMAS
Frederick Ronald Williams - Swimming At Bedarra

Frederick Ronald Williams - Swimming At Bedarra

Original 1973
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Lot number: 19
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Description: FRED WILLIAMS (1927-1982), Swimming at Bedarra (also known as Bedarra and Timana) 1973 gouache on paper 39.5 x 75.5 cm signed lower left: Fred Williams dated and inscribed verso: SWIMMING AT BEDARRA/1973/354 Philip Bacon Galleries, Brisbane (label attached verso) Private collection, Hobart, since 1998 Fred Williams - 'In Queensland' 1971-1978, Paintings and Gouaches, Philip Bacon Galleries, Brisbane, 7 July - 1 August 1998 Mc Caughey, P., Fred Williams 1927-1982, Murdoch Books, Sydney, 1980, pp.230, 236 (illus.) Exhibited: Fred Williams - 'In Queensland' 1971-1978, Paintings and Gouaches, Philip Bacon Galleries, Brisbane, 7 July - 1 August 1998 Literature: Mc Caughey, P., Fred Williams 1927-1982, Murdoch Books, Sydney, 1980, pp.230, 236 (illus.) Provenance: Philip Bacon Galleries, Brisbane (label attached verso) Private collection, Hobart, since 1998
Frederick Ronald Williams - Acacias

Frederick Ronald Williams - Acacias

Original 1971
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Lot number: 8
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Description: FRED WILLIAMS, (1927 – 1982), ACACIAS, YOU YANGS III, 1971, gouache on paper on composition board SIGNED: signed lower left: Fred Williams DIMENSIONS: 27.0 x 76.0 cm PROVENANCE: Gifted to Gordon Darling on his retirement as Chairman, Rheem Australia, 1982 Private collection, Melbourne Deutscher and Hackett gratefully acknowledges the assistance of Lyn Williams in cataloguing this work. ESSAY: The You Yangs, like Hanging Rock near Mt Macedon in Victoria, have a singular fascination. Rising from the Werribee Plain south-west of Melbourne, they dominate the landscape, their name coming from the Aboriginal ‘Wurdi Youang’’’’’’’’ – big mountain in the middle of a plain. Fred Williams’’’’’’’’ first You Yangs landscapes celebrate the flatness of the plain, seen from above in fields of minimalist splendour, as in You Yangs II, 1963, in the collection of the National Gallery of Australia, Canberra. While the absence of sky and horizon continued in You Yangs Pond, 1963, in the collection of Art Gallery of South Australia, trees are now more defined, profiled within the overall flatness. A similar approach is found in the gouaches of this period, as in Knoll in the You Yangs I, 1964, in the collection of the National Gallery of Australia.1 The second You Yangs series of that same year saw the reappearance of the horizon line. As Patrick Mc Caughey observed: ‘The horizon no longer divided the painting spatially into sky and earth: it divided the surface’’’’’’’’.2 Soon Williams was involved in the celebrated Upwey paintings. Upwey Landscape II, 1965, in the collection of the National Gallery of Australia, won the Georges Invitation Art Prize in February 1966; and Upwey Landscape V, 1965 – 66, in the collection of Art Gallery of Ballarat, was awarded the Wynne Prize in January 1967. His solo exhibition at Rudy Komon’’’’’’’’s Sydney gallery was a sellout. Gordon Darling was among those lucky enough to secure an Upwey landscape oil painting. Hailed in Sydney as possibly ‘Australia’’’’’’’’s greatest landscape artist’’’’’’’’; for his following Melbourne show, Mc Caughey declared that Williams ‘…has established himself as the most exciting landscape painter in Australia…’’’’’’’’.3 In Acacias, You Yangs III of 1971 Williams returned to the more traditional landscape format of land, horizon and sky, the detritus of the bush and trees profiled, the illusion of depth balanced by the painterly emphasis on the picture plane. It achieves the best of both worlds of representation and abstraction. The sparkle of golden wattle contrasting against the cool greys and blues of winter fascinated Williams, a fascination he returned to in later paintings. 4 The previous summer of 1970 – 71 had seen Williams painting a series of strip gouaches at Victorian seaside resorts. Classic examples are found in the collection of the National Gallery of Australia – Beachscape with Tidal Eddies, Sorrento, 1971, and Beachscape with Bathers, Queenscliff, numbers I to IV, 1971. In March he was again sketching around the You Yangs, Acacias, You Yangs III, with its elegant panorama and lively brushwork, having been painted en plein air in May. Gouaches, like his etchings, have always been an important and integral part of Williams’’’’’’’’ oeuvre. His first solo exhibition of gouaches was held later in 1971 at the Newcastle Art Gallery, followed by a national tour, their originality of vision drawing numerous admirers.5 1. Mc Caughey, P., Fred Williams, Bay Books, Sydney, 1980, p. 162 2. ibid., p. 167 3. Thornton, W., ‘Is this our greatest landscape painter?’’’’’’’’, Sydney Morning Herald, 12 October 1966, p. 22; Mc Caughey, P., ‘A Painter Apart’’’’’’’’, Age, 27 September 1967, p. 6 4. See Acacia Saplings, c.1974, Deutscher and Hackett, Sydney, 13 September 2016, lot 16 5. Fred Williams Watercolours, Newcastle City Art Gallery, 1 July – 2 August 1971, a large body of unexhibited works from the artist’’’’’’’’s collection, ranging from Mittagong subjects of the late fifties, through Sherbrooke, the You Yangs and Mornington Beach to Upwey and Queenscliffe of 1971 DAVID THOMAS
Frederick Ronald Williams - Nude

Frederick Ronald Williams - Nude

Original 1946
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Lot number: 37
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Description:
FRED WILLIAMS (1927-1982) Nude 1946 oil on canvas on board signed and dated lower right: WILLIAMS 46 43 x 53.5cm PROVENANCE: Purchased by vendor's mother-in-law, late 1960s Thence by descent OTHER NOTES: Fred Williams' iconic status in the sphere of Australian Art is mostly centred on his landscape subjects. However, his early work is grounded in figuration. In 1943 Fred began night classes at the National Gallery of Victoria Art School in Melbourne where he studied drawing. In term three in 1946, the same year this painting was produced, Fred became a full time student. Under the tutelage of the great tonal realist, Sir William Dargie, he began a specific focus on life drawing . Many of his sketches from this time can be seen in the collection of the Art Gallery of New South Wales. This painting, produced in 1946, highlights his focus on form and represents a pivotal time of transition for one of Australia's most recognised artists
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