Forty works from The Peter and Andrea Hylands collection by artvisory4

Forty works from the The Peter & Andrea Hylands collection

Introduction to Private collection sales and the Gap in the market Artvisory is delighted to present the Collection of Peter and Andrea Hylands as a selling Private Collection. There is a noticeable gap in the Australian art market for collectors wishing to sell their collections privately that don’t necessarily suit auction. This is true in many categories, but for this catalogue, let's focus on the contemporary Australian art market, as that is what this collection consists of. To explain this as simply as possible, the re-sale market in Australia for contemporary art is currently very limited. Primary gallery dealerships are not always set-up for the re-sale of their own artist’s work, after the marketing vehicle – that is the artist's current exhibition – has moved on. Thereafter, gallery stock-rooms can often lie somewhat dormant. The auction process works for a very small select group of artists, but for most it is a treacherous path and the gap between a readily achieved gallery value and what often occurs at auction, is not reflective of an artist’s true market. There are many reasons for this, but without getting into the minutia of an explanation here, suffice to say that there is a clear gap in the market for collectors wishing to sell a collection by private treaty, where the risk of very low auction estimates is not worth taking.

Artvisory offers services to advise and manage the private sale of a collection, such as this, Artvisory’s inaugural selling exhibition for well-known and highly respected film-makers of creative and knowledge content, Andrea and Peter Hylands. Their lifelong passion for the visual arts is reflected in this substantial edit from their collection, as they look to their own future and where they will be living. Those that know Andrea and Peter well, know that they are like rolling stones and that they don’t stay still very long! As a part of the Artvisory Private Collection Selling concept, the company includes an innovative “make an offer” option that adds the element of a gamble that many enjoy in the auction process. Confidential offers may be submitted during the exhibition and will only be reviewed at the conclusion of the exhibition if the work does not sell at it's listed price. This gives buyers a possible opportunity and for sellers, it provides the likelihood of selling more of the collection than might happen otherwise, whilst retaining control of the discounting process. We hope you enjoy the opportunity to visit our galleries and see this wonderful display of Australian artistic talent and maybe even add to your own collection.

On view to the public: Opening Saturday 23 March 3–5pm thereafter Tuesday to Saturday 11am–5pm until Friday 5 April Exhibition Address: Artvisory Gallery 409 Malvern Road South Yarra Vic 3141 Tel 03 9826 4039 View complete exhibition online at: www.artivsory.com.au

Andrea and Peter Hylands have been art collectors for many decades. The art collecting, or much of it, has been a very personal affair with friendships and collaborations with artists, around the world. It is now time for them to sell their Australian art collection. Here we present the first 40 works to be sold. These works are of high quality with many of the artists represented in the collections of the major public galleries in Australia including the National Gallery of Australia, Canberra, the Art Gallery of New South Wales, Sydney and the National Gallery of Victoria, Melbourne. One work by Peter Churcher (no 10) in the initial release is of very large scale. As you will see there is something to for everyone in size and cost. The 40 works also include a number of ceramic pieces by Australiaâ&#x20AC;&#x2122;s most important potters. This represents an extraordinary opportunity for a collector, to add to, or establish, an Australian ceramics collection.

Forty works from the The Peter & Andrea Hylands collection

Andrea Hylands, Film maker and ceramic artist, former senior lecture in Ceramic Design at Monash University, former President of Craft Victoria. Andrea’s work is collected around the world and is included in both major public and private collections and she holds many international awards for her work in Japan, India, USA, France, Korea and Italy including best contemporary film, FIFAV Montpellier, 2010; Gold Medal, Faenza, Italy 2005 and the Grand Prix, Vallauris, France 1992. Member of the IAC Switzerland. Since 2005 awards from the digital world include multiple awards from the International Academy of Digital Arts & Sciences (New York); Government of Madhya Pradesh, India, European web awards (for work on Brexit) and as a finalist for the United Nations Association online media awards.

About Peter Hylands

About Andrea Hylands

A working lifetime of designing, editing, producing, directing, researching and writing knowledge based content in Europe, Africa, America, Asia and Oceania. Peter is a long-term judge of the USA web awards, held in New York each year. “Our work now focuses on two things, firstly connecting cultures around the world to improve understanding and outcomes for our human society, particularly the young, and secondly describing the impact and outcomes of current human conduct on the natural world, doing so through the production of knowledge based content. Culture and nature are related of course”.

GLEN NAMUNDJA (BORN 1963) Kinga and Burrar

ANGELINA NGALE PWERLE (BORN 1952) Bush Plum

Natural earth pigments on paper 151cm x 51cm

Acrylic on paper 100cm x 70.5cm

PROVENANCE

Injalak Arts, Gunbalanya

Niagara Galleries, Melbourne, Time and Space 2015 (No 14853)

HENRY BJYAN (UTOPIA REGION, CIRCA 1980s) Goanna Dreaming

ABIE LOY KEMERRE (BORN 1972) Bush hen dreaming (1997)

Inscribed with Artist's name and title in pencil to verso Acrylic on canvas 126cm x 92cm

Synthetic Polymer on Belgian linen Numbered GAALO9971071 to verso and inscribed with Artist's name 129cm x 229cm

PROVENANCE

Utopia (collected from Community)

Gallerie Australis - Australian Ethnographic and Contemporary Art Specialists, Adelaide, 1998

NORMAN KINGSLEY (ACTIVE 2000s) Untitled Acrylic on canvas Signed lower right Image size 62cm x 93cm PROVENANCE

Borroloola Arts, Darwin Art Fair

NORMAN KINGSLEY (ACTIVE 2000s) Untitled Acrylic on canvas Signed lower right Image size 62cm x 93cm PROVENANCE

Borroloola Arts, Darwin Art Fair

GLORIA TAMERRE PETYARRE (BORN CIRCA 1938) Awelye (womenâ&#x20AC;&#x2122;s dreaming 2001) Synthetic polymer on linen Inscribed with arts name to verso numbered FGP0110 Urapuntja Artists Utopia 120cm x 136cm PROVENANCE

Lauraine Diggins Fine Art, Melbourne, No. 210316.

On Peter Churcher by Peter Hylands The following is from A portrait in Barcelona, a documentary we made about the art of portraiture with Peter in Spain and at the National Portrait Gallery in London a few years ago. "The whole concept of getting a likeness is very peculiar because, in a sense probably some of the greatest likenesses I have ever captured are when I was not even trying to get a likeness, or not even thinking about it. In other words I was just sketching a person in a room and I was not trying to portray their likeness. What I am trying to say is sometimes the more you think about getting a likeness the further you get away from it. You have to trust your initial instincts in what you observe. The other curious thing about likeness, and I always have this sensation when I am painting portraits, and I often do take some photographs because they can be useful after sessions are over and the sitters have gone. I can use the photographs to refer to for little details in the portrait like the clothing or a hand or something that still needs some finishing. So they are useful for thatâ&#x20AC;?. Peter Churcher

PETER CHURCHER (BORN 1964) Sachaâ&#x20AC;&#x2122;s Back Oil on canvas Signed and dated 2000 upper right 56cm x 46cm PROVENANCE

Australian Galleries, Sydney, Recent Paintings 24 October-18 November 2000, AG No. 27135 9

PETER CHURCHER (BORN 1964) Paul in foetal position Oil on canvas Signed upper right 56.5cm x 66cm PROVENANCE

Australian Galleries, Sydney, No. AG103434

PETER CHURCHER (BORN 1964) September Oil on canvas Signed and dated lower left 208cm x 264cm PROVENANCE

Lauraine Diggins Fine Art 2001 Lion Nathan Collection 2001 Andrea and Peter Hylands 2006

Peter Churcher was born in Brisbane, Queensland. He is the son of Betty Churcher, who was the director of the National Gallery of Australia from 1990-1997. Churcher is currently living and working in Barcelona, Spain. He was selected by the Australian War Memorial to be the official Australian war artist for the War on Terrorism in 2002 where he was sent to the Persian Gulf and Diego Garcia, he recorded the people and operations of the Royal Australian Navy (RAN) and Royal Australian Air Force (RAAF). He has entered at ten Archibald prizes and been hung six times. He was represented in the 1996, 1997 and 1999 Archibald Prizes, as well as the 1998 and 2000 Sulman Prize. He was an Archibald Prize finalist in 2005 with his Portrait of Jeffrey Smart, in 2006 with his painting Bruce, Linde and me on the road to Guadelupe, in 2014 and 2015.

PETER CHURCHER (BORN 1964) Regarding Picasso 2000

PETER CHURCHER (BORN 1964) Head in a box

Oil on canvas Signed and dated 2000 lower right 122cm x 107cm

Oil on canvas Signed upper left 66cm x 56cm

PROVENANCE

Australian Galleries, Sydney Recent Paintings 24 October-18 November 2000 Exhibited group show The Painted Self, Mornington Peninsula Regional Gallery, 2004

Lauraine Diggins Fine Art, Melbourne, No. 24000

PETER CHURCHER (BORN 1964) Aeneas leaving Carthage 1998 Oil on canvas Signed and dated 98 lower left and titled to verso 137cm x 122cm PROVENANCE

Lauraine Diggins Fine Art, Melbourne, No. 990683

ALBERT LEE TUCKER (1914-1999) Bonanza I, Lasseter Series c.1975 Gouache and ink wash on oil paper Signed lower left Tucker 44cm x 58.5cm PROVENANCE

Dr Teunis Kwak lent to exhibit in September 1992 Lauraine Diggins Fine Art Melbourne No. 960346 Albert Lee Tucker was an influential member of the Heide Circle, a group of modernist artists and writers that centred on the art patrons John and Sunday Reed, whose home, "Heide", located in Bulleen, near Heidelberg (outside Melbourne was a haven for the group.

Tucker associated with John and Sunday Reed, who saw connections between Tucker's work and other artists, angry at the social situation. This so-called "Angry Decade" of the 1940s, saw artists Tucker become associated with the Angry Penguins, a group of modernist artists including Joy Hester, Sidney Nolan, John Perceval, Arthur Boyd and Noel Counihan. The Reeds' property at Heide was a major outlet for the expression of avant-garde ideas. The modernists and social realists shared the same concerns. These artists wrote for the publication Angry Penguins, published by Max Harris. Tuckerâ&#x20AC;&#x2122;s original influences, Bergner and Vassilieff, were part of this group. In 1959, Tucker won the Australian Women's Weekly Prize, which enabled him to spend two years in New York producing the Manhattan Series and Antipodean Heads.In 1960 he was awarded the Kurt Geiger Award by MOMA Australia which he used to return to Australia and mount his first Australian solo exhibition. He subsequently settled in Victoria. In 1990 the National Gallery of Australia held a major retrospective of his work.

NOEL JACK COUNIHAN (1913-1986) Waterside Worker Oil, pastel and gouache on paper Signed and dated 68 lower right and titled to verso 73cm x 53cm

On Noel Counihan by Peter Hylands What follows is a description of Noel Counihan’s first studio, which he shared, in the old St James’s building at the corner of Little Collins and Williams Streets in Melbourne. The year is 1930. The studio furnishings were austere: a few wooden chairs and a table, a camp stretcher along the far side covered with a couple of thin mattresses and old blankets. In 1931 a weekly life class was held in the studio and the room furnished with a wooden dais at one end for the model. Facing the door was a fireplace, on the mantelpiece on which was a human skull with a removable cranium and articulated jaws. The walls were decorated with linocuts by Dalgarno and Buzacott, and a colour-cut by Margaret Preston of a flower piece influenced by Aboriginal art. A colour reproduction of Hokusai’s Wave hung on another wall. In one corner a cheap coffee percolator was placed on a box beside a small gas ring. On the landing outside was a small toilet, the window of which overlooked Little Collins Street. The large window of the studio itself was always left unlocked so that any of its occupants who had left their keys behind could enter by climbing through the toilet window and walking precariously along the narrow ledge at second story level to the studio window. The above paragraph is from Noel Counihan: Artist and Revolutionary by Bernard Smith, published by Oxford University Press 1993. Bernard Smith, the eminent Australian art historian joining us at our beautiful house in Central Victoria (where our Australian art collection lived) all those years ago. How time passes.

Art Notes from Peter Hylands The Penguins should be angry

was most often Australia, even perhaps if it was not painted there.

When I think about my European childhood in Austria and England, the things that stand out for me (apart that is from the wildness of the Alps) were the numerous visits to the art galleries and museums in London. As you can imagine I spent a lot of time in South Kensington and at the Natural History Museum.

Whether in the Tate, in the galleries around Mayfair, in a profusion of art books, there was Albert Tucker. I admired Albert then and, for example, his startling images of outback Australia or Hiroshima, both places we know so well (with atom bombs in common).

These were the 1950s. But with an eye to art, what I think stood out, because the works were so very different were the paintings of Australia’s Angry Penguins, which the Tate describes thus “a modernist literary and artistic movement that sought to shake up the entrenched cultural establishment of Australia in the 1940s”. The artists that comprised the Angry Penguins of course included, as well as Albert, Sidney Nolan, Arthur Boyd, Joy Hester and John Perceval. This was definitely the art of time and place, and that place

It seemed a very strange global journey indeed to find Albert all those years later sitting across the dinner table engaged in discussion about the things we cared about. Albert’s painting of the iconic Australian figure Lasseter describes Central Australia so perfectly still and is the painting we are about to sell. We have owned it for many years and Andrea and I were with Albert when we selected it for purchase. Albert, encouraging us to choose the work.

JOHN HAROLD DENT (BORN 1951) Yarra River from Tarawarra Lane, Yarra Valley Oil on canvas Signed lower left 106.7cm x 101.6cm PROVENANCE

Lauraine Diggins Fine Art Melbourne, No. 240007

JOHN HAROLD DENT (BORN 1951) Chinese table and milk carton (1977/8) Etching, colour stencil and aquatint, No. 8/50 Signed and dated lower right PROVENANCE

The Artist

CLIFTON ERNEST PUGH (1924-1990) Aftermath of the fire II (1977) Oil on composition board Signed and dated Feb 1977 lower right 92cm x 122cm PROVENANCE

Loaned to the Art Gallery of Western Australia 1983 with Christensen Collection provenance, label to verso. Lauraine Diggins Fine Art, Melbourne, 1998, collection of artist

Clifton Ernest Pugh AO was a three-time winner of Australia's Archibald Prize. He was strongly influenced by German Expressionism, and was known for his landscapes and portraiture.Important early group exhibitions include The Antipodeans, the exhibition for which Bernard Smith drafted a manifesto in support of Australian figurative painting, an exhibition in which Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval and Charles Blackman showed a joint exhibition with Barry Humphries, in which the two responded to Dadaism and Group of Four at the Victorian Artists Society Gallery with Pugh, John Howley, Don Laycock and Lawrence Daws. Pugh was made an Officer of the Order of Australia in 1985 for service to Australian Art.In 1990 he was appointed as the Australian War Memorial's official artist at the 75th anniversary celebrations of the Gallipoli landing.

GLEN MACKIE (TORRES STRAIT, BORN 1975) Githalai Signed and titled in pencil to margin Edition 1/40 Paper size 95cm x 80cm PROVENANCE

Gallery Gabrielle Pizzi, Melbourne 2010

THELMA DIXON (BORN 1937) Nanny Goat Screen print Signed lower right and numbered 22/40 Paper size 38cm x 28cm PROVENANCE

Borroloola Arts, Darwin Art Fair

G W BOT (BORN 1954) Shadow Glyphs 2012 Linocut on Tapa cloth and gold coated paper Edition no 1/10 35cm x 112.5cm PROVENANCE

Australian Galleries, Melbourne, No. 27129

DENNIS NONA (TORRES STRAIT, BORN 1963) Ubirikubiri-Crocodile (Torres Strait) 2008 Screen print numbered 41/45 Signed and titled in pencil to margin Paper size 150cm x 100cm PROVENANCE

Canopy Art Centre, Cairns

Art Notes from Andrea Hylands Down to earth What I always loved about potters, and the many friends around the world who had dedicated their lives to making ceramics, was their warmth and wit. I think about Peter Rushforth and Shiga Shigeo and their long friendship centered on making pots. When we spoke to Peter and Shiga in Bendigo a few years ago Peter had this to say, which also sums up my own feelings on the subject: "There is a great fraternity and kindred spirit between potters around the world. Making is an instinctive and creative element in all our lives. I feel that this kindred spirit is another reason why we should look at creating work to bring peace to the world. Pottery can express great aesthetic qualities and warm qualities, which are human qualities, and are a balance to the sterility of mass produced articles. It is the instinctive desire to make, coupled with the fact that we have been using clay through the millenniums of time that brings us together”.

In the forefront of my memories are the potters of China, Korea and of course Japan. I remember Lucie Rie in her studio in Albion Mews, London and our discussions together in her living room above the studio. I remember too, the wonderful Mick and Sheila Casson and our visits to Wobbage Farm, great dinners and friendships. I remember Mick’s great communication skills and his work with the BBC making the series The Craft of the Potter. I remember Michael Cardew’s efforts in Abuja in Nigeria and from the oldest commercial publishing company in England, Longman’s great book about Michael’s Nigerian journey. I remember our work with Australian potter Gwyn Hanssen Pigott in Queensland in making A potters film. A film that went on to win the best contemporary art film prize in Montpellier in France. Being with Gwyn was always a joy. It is so immensely sad that so many of the people we loved and admired are no longer alive. Let us hope their skills and knowledge survive for a very long time indeed.

GARRY BISH (BORN 1950) Time passage Ceramic sculpture Signed and dated 97 and with Artist's seal to base 26cm high, 52cm wide PROVENANCE

Craft Victoria, 1997 23

ANDREA HYLANDS Wall Piece Wall piece made of bone china and wood Signed and titled to verso 116cm x 115cm

24 (Detail)

MILTON MOON AM (BORN 1926) Large glazed stoneware platter decorated with prunus sprig Signed to base 42.5cm diameter PROVENANCE

Purchased from the Artistâ&#x20AC;&#x2122;s studio

RAY TAYLOR (BORN 1944) Enamelled glazed Raku globular vase Signed to base 30cm high, 22cm circumference PROVENANCE

The Artist

PETER RUSHFORTH (1920-2015) Spherical vase with short neck Tenmoku, oil spot glaze Impressed seal mark 25cm high, 22cm circumference PROVENANCE

Skepsi On Swanston, Melbourne, 2007 27

STEPHEN BENWELL (BORN 1953) Large painted ceramic vase (1995) Signed and dated 1995 in the paintwork 43cm high, 40cm circumference PROVENANCE

George Gallery, 1998 29

SHIGA SHIGEO Cylindrical vase with lugs Porcelain clay, incised celadon glaze 22cm high, 13cm wide across the lugs PROVENANCE

Skepsi On Swanston, Melbourne, 2007 30

JEFF MINCHAM AO (BORN 1950) Large elliptical Raku carved vase form signed ? to base 27cm high, 50cm wide PROVENANCE

Lyall Burton Gallery, Melbourne In 2009 Jeff Mincham was declared a Living Treasure â&#x20AC;&#x201C; Master of Australian craft, under the Federal Government funded Visions of Australia program.

30 29

RAY TAYLOR (BORN 1944)

MILTON MOON AM (BORN 1926)

Enamelled glazed Raku spherical vase Signed with initials to base 17cm high, 15cm circumference

Tall stoneware cylindrical vase Signed and dated 92 to base 30cm high, 12cm diameter

PROVENANCE

The Artist

Purchased from the Artist’s studio

MILTON MOON AM (BORN 1926)

ALAN PEASCOD (BORN 1943)

Glazed stoneware plate Signed to base 21.5cm diameter

Unglazed stoneware vessel 28cm high, 20cm circumference

PROVENANCE

Purchased from the Artist’s studio

PROVENANCE

Purchased from the Artist’s studio 32

GARRY BISH (BORN 1950) Ceramic Brush pot form vessel Signed and dated 86 with Artist's seal to base 24.5cm high, 17cm high PROVENANCE

The Artist 36

GARRY BISH (BORN 1950) Ceramic vase form Artistâ&#x20AC;&#x2122;s seal to base 14cm high PROVENANCE

The Artist

PETER RUSHFORTH (1920-2015) Large spherical blossom pot with rich blue Jun glaze Impressed seal mark 34cm high, 30cm circumference PROVENANCE

Janet Mansfield Gallery, Sydney 38

CHARLIE OLSON (AMERICAN, BORN 1953) Large twin handled vase form vessel Signed to base and numbered 59cm high, 32cm wide across the handles PROVENANCE

Distelfink Gallery, Melbourne 1990 37

LYNNE EDEY (BORN 1940) Acrobat IV Bronze with steel base 44cm high, base 26cm wide PROVENANCE

Span Galleries 1 2 and 3, Melbourne

39 (Detail)

LYNNE EDEY (BORN 1940) Figure Bronze 33cm high PROVENANCE

Span Galleries 1 2 and 3, Melbourne

40 (Detail)

Calendar to 30 June 2019

23 March – 5 April 2019 Forty works from the The Peter & Andrea Hylands Collection of Australian Art 4 – 22 May 2019 Dan Withey Inaugural solo artist's show with the gallery 13 April – 2 May 2019 David Boyd – previously unseen works from the artist’s estate relating to the legal profession

25 May – end of June 2019 A Major Selling Retrospective from the Estate of one of Australia’s most significant artists – to be announced

409 Malvern Road South Yarra Vic 3141 www.artivsory.com.au