Gordon Bennett Paintings & Artwork for Sale | Gordon Bennett Art Value Price Guide

Nov. 20, 2024
GORDON BENNETT (1955-2014), Camouflage #4 2003
Est: $30,000 - $40,000
PROPERTY FROM A PRIVATE COLLECTION, QUEENSLAND GORDON BENNETT (1955-2014) Camouflage #4 2003 synthetic polymer paint on linen 183.0 x 152.0 cm signed, dated and inscribed verso: G Bennett 26 Feb 2003 / "CAMOUFLAGE #4" 182.5 x 152 cms/ Acrylic on linen
Menzies
Nov. 12, 2024
GORDON BENNETT, THE REVERB (JACKSON POLLOCK 2), 2001
Est: $10,000 - $14,000
GORDON BENNETT 1955-2014 THE REVERB (JACKSON POLLOCK 2), 2001 chalk pastels on Colourfix paper 70 x 50 cm; 84 x 64 (framed) signed verso "G Bennett" PROVENANCE Greenaway Art Gallery, SA Private collection, SA EXHIBITED Gordon Bennett: Notes to Basquiat (911), Greenaway Art Gallery, SA, 1- 30 March 2002 © The Estate of Gordon Bennett Gordon Bennett's transformative art career began after he graduated from the Queensland College of Art, Brisbane, in 1988 at the age of 33. As he navigated the complexities of his identity, Bennett’s childhood discovery of his Aboriginal heritage, in a predominantly white, working-class environment, prompted a deep reflection on Australian history and cultural representation. Bennett’s engagement with postmodernist thought in the late 1980s introduced him to new frameworks for reinterpreting cultural narratives. Through his art, he skilfully deconstructed and reassembled visual symbols to challenge dominant perspectives. 'His colourful and thought provoking conceptual paintings, prints, performance videos and installations draw on many different sources and styles. This included abstract expressionism and a dot aesthetic inspired by the Papunya Tula art movement of the Australian Western Desert. His artwork resist and debate racial stereotyping and is critical of Australia’s colonial history and postcolonial present.' - Tate Modern This piece is a fine example of an Australian Aboriginal artwork.
Art Leven (formerly Cooee Art)
Aug. 28, 2024
GORDON BENNETT (1955-2014), Penetration 1994
Est: $2,000 - $4,000
PROPERTY FROM A PRIVATE COLLECTION, VICTORIA GORDON BENNETT (1955-2014) Penetration 1994 colour aquatint 78.5 x 59.5 cm (image); 116.0 x 87.0 cm (framed) edition: Printer's Proof (edition of 20) signed and dated lower right: G Bennett '94 numbered lower left: P/P titled lower centre: "Penetration" printed by Viridian Press, Melbourne
Menzies
Jun. 25, 2024
GORDON BENNETT (1955-2014) The Inland Sea 1988 oil on material (printed fabric) 61 x 71cm
Est: $10,000 - $15,000
GORDON BENNETT (1955-2014) The Inland Sea 1988 oil on material (printed fabric) signed, titled and dated verso: Gordon Bennett '88/ "THE INLAND SEA" 1988 61 x 71cm PROVENANCE: The Collection of Mark Webb The Collection of Peter Bellas, Brisbane OTHER NOTES: RELATED WORK: Gordon Bennett, Explorer (The Inland Sea) 1993, woodcut on Japanese paper, 45.5 x 60.6cm, The Collection of National Gallery of Victoria, Melbourne © The Estate of Gordon Bennett managed by John Citizen Arts Pty Ltd
Leonard Joel
May. 20, 2024
GORDON BENNETT (1955-2014) Psychotopographical Landscape (Cage) 1991 oil on canvas 100 x 100cm
Est: $15,000 - $20,000
GORDON BENNETT (1955-2014) Psychotopographical Landscape (Cage) 1991 oil on canvas signed, titled and dated verso: "Psychotopographical Landscape (Cage)" 1991/ GBennett 18-3-'91 100 x 100cm PROVENANCE: Department of Aboriginal & Islander Affairs, Brisbane The Collection of Peter Bellas, Brisbane EXHIBITIONS: Gordon Bennett, Bellas Gallery, Brisbane, 7 - 25 May 1991 LITERATURE: Compassion Calms the Rage, Courier Mail, 14 May, 1991 Southern Crossings: Empty Land in the Australian Image, Camerawork, London, 1992 OTHER NOTES: "Gordon Bennett's bold and humane art challenged racial stereotypes and provoked critical reflection on Australia's official history and national identity. Bennett was one of Australia's most significant and critically engaged contemporary artists, addressing issues relating to the role of language and systems of thought in forging identity. He rejected racial stereotypes and freed himself from being categorised as an Indigenous artist by creating an ongoing pop art inspired alter ego, John Citizen, who he considered to be 'an abstraction of the Australian Mr Average, the Australian Everyman'." (The Museum of Contemporary Art Australia, Sydney) © The Estate of Gordon Bennett managed by John Citizen Arts Pty Ltd
Leonard Joel
May. 19, 2024
Gordon Bennett
Est: $30 - $50
The Art of Gordon Bennett by Ian McLean and Gordon Bennett. Craftsman House, 1996. Quarto size. Hardcover in dustwrapper. Also included two art catalogues featuring Gordon Bennett. Very good condition.
Sydney Rare Book Auctions
Mar. 06, 2024
GORDON BENNETT CENTENARY POSTER
Est: €60 - €80
Gordon Bennett Centenary poster. Framed. Framed: 35 x 44 cm. Image: 27 x 36 cm. MOTORABILIA Approximate Time 12:49:24
Sheppards
Sep. 13, 2022
Gordon Bennett (1955-2014)
Est: $12,000 - $18,000
Number Two, 2003 acrylic on canvas, signed and dated verso 'G Bennett, 10 Nov 2003'
Shapiro Auctioneers
Mar. 08, 2022
GORDON BENNETT, THE INLAND SEA (AN EXCESS OF MEANING), 1994
Est: $20,000 - $30,000
GORDON BENNETT (1955 - 2014) THE INLAND SEA (AN EXCESS OF MEANING), 1994 synthetic polymer paint on canvas 81.0 x 100.0 cm signed, dated and inscribed with title verso: G Bennett 1-2-94 / “THE INLAND SEA (AN EXCESS / OF MEANING)” PROVENANCE Private collection, Queensland Mossgreen, Melbourne, 13 November 2007, lot 48 Private collection, Melbourne © The Estate of Gordon Bennett This item is located at our Melbourne gallery
Deutscher and Hackett
Nov. 23, 2021
Gordon Bennett (1955-2014)
Est: $2,000 - $3,000
Christmas #1, 2008 acrylic on canvas, signed, dated and titled verso Christmas #1, 2008, G. Bennett
Shapiro Auctioneers
Nov. 10, 2021
GORDON BENNETT, NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001
Est: $80,000 - $100,000
GORDON BENNETT (1955 - 2014) NOTES TO BASQUIAT: CUT THE CIRCLE II, 2001 synthetic polymer paint on linen 152.0 x 182.5 cm signed and dated verso: G. Bennett 8 -03-2001 title, medium and dimensions inscribed verso: NOTES TO BASQUIAT: CUT THE CIRCLE II / Acrylic on linen / 5 x 6, 152 x 182.5 cm PROVENANCE Sherman Galleries, Sydney, 2001 Private collection, Melbourne, acquired from the above in 2001 Deutscher and Hackett, Melbourne, 27 August 2008, lot 38 Private collection, Melbourne EXHIBITED Notes to Basquiat: Modern Art, Sherman Galleries, Sydney, 17 May – 9 June 2001, cat. 3 (as ‘Cut the Circle 2’) ESSAY Since his first major solo exhibition in 1989, Gordon Bennett has achieved international acclaim for his compelling, highly idiosyncratic vision which, drawing inspiration from Australia's colonial past and postcolonial present, interrogates the power of language to structure the ideologies that so determine our cultural and personal identities. Indeed, perhaps more directly and explicitly than any other Australian artist, he has engaged in the debate on republicanism, sovereignty (land rights) and citizenship in an effort to highlight the plight of indigenous people - not just locally, but internationally - who have become estranged as a result of colonialism. Arguing that the codes of Western art, literature, law and science introduced with European settlement have become a prison from which indigenous people cannot escape - but rather, only appropriate - thus Bennett employs the deconstructivist aesthetic of postmodernism to re-present the histories and politics underlying the Australian social landscape. In 1998, seeking to communicate his concerns to an American audience, Bennett embarked upon his celebrated 'Notes to Basquiat' series inspired by the work of Jean-Michel Basquiat, the African-American artist based in New York who shared a similar preoccupation with semiotics and visual language as instruments of marginalisation. Conceived as an 'open letter' to Basquiat who died in 1988, the series appropriates the raw street style for which the African-American artist became renowned, thus emphasising 'our shared experience as human beings in separate worlds that each seek[s] to exclude, objectify and dehumanise the black body and person.’1 Yet if Bennett borrows 'signature' motifs from Basquiat's oeuvre such as his use of lists and rap-like banter, he nevertheless imbues them with his own uniquely Australian symbolism. As Jill Bennett elucidates, Bennett '...does not simply imitate or act as Basquiat... [Rather] he is interested in how Basquiat's work might be encountered from a different place, and what happens when different accounts of history and experience are registered simultaneously within a given frame...’2 Notes to Basquiat: Cut the Circle II 2001 belongs to the group of paintings within this series which juxtapose Basquiat's rap style with the characteristic interlaced lines of Jackson Pollock, a mythic figure in modernism and thus, according to Bennett, an important player in the conspiracies of colonial cultures. Depicted in every composition as the black and pink iconic dancing figure, Pollock, however, is not simply a convenient image-maker that suits Bennett's argument. More significantly, Pollock is a way of bringing Basquiat home to Australia '...for Pollock has a place within Australia's psyche because of the Blue Poles fiasco. Prime Minister Whitlam's purchase of the painting made it emblematic of his Government's radicalism and determination to move on rather than remain in the past... Bennett's return to Pollock is like a calling card reminding the Howard government that the ghost is still out there.’3 1. Bennett quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 21 2. ibid. 3. McLean, I., 'Conspiracy Theory: Pollock, Basquiat, Bennett' in Gordon Bennett, Notes to Basquiat: Modern Art, Sherman Galleries, Melbourne, n.p. VERONICA ANGELATOS © Gordon Bennett
Deutscher and Hackett
Oct. 15, 2021
GORDON BENNETT
Est: $30 - $50
The Art of Gordon Bennett by Ian McLean and Gordon Bennett. Craftsman House, 1996. Quarto size. Hardcover in dustwrapper. Withdrawn library copy. Also included two art catalogues featuring Gordon Bennett housed in special slipcase.
Sydney Rare Book Auctions
Aug. 03, 2021
GORDON BENNETT, HOME DECOR (COUNTER COMPOSITION) BLACK SWAN, 1998
Est: $600 - $800
GORDON BENNETT (1955 – 2014) HOME DECOR (COUNTER COMPOSITION) BLACK SWAN, 1998 (from the SYDNEY 2000 OLYMPIC FINE ART COLLECTION PORTFOLIO) five colour lithograph from five aluminium plates on white wove paper 76.0 x 56.1 cm (image/sheet) edition: 37/99 signed, dated, inscribed and numbered verso: G Bennett 1999 Home Decor (Counter Composition) Black Swan 37/99 PROVENANCE Gene and Brian Sherman Collection, Sydney CONDITION This colour lithograph is in excellent, stable and original condition. The work is offered unframed. Image courtesy IMAAC © Gordon Bennett
Deutscher and Hackett
Jun. 28, 2021
GORDON BENNETT (1955-2014) Psychotopographical Landscape (Pastoral) no. 10 1990 synthetic polymer paint on Hans Heysen print on comp...
Est: $5,000 - $7,000
GORDON BENNETT (1955-2014) Psychotopographical Landscape (Pastoral) no. 10 1990 synthetic polymer paint on Hans Heysen print on composition board signed, titled and dated on artist's label verso: "PSYCHOTOPOGRAPHICAL LANDSCAPE (PASTORAL) N. 10" 1990 / GBENNETT 61 x 72 cm PROVENANCE: Private collection, Melbourne OTHER NOTES: RELATED WORK: Possession Island (Abstraction) 1991, oil and synthetic polymer paint on canvas, 182 x 182cm, in the (joint) Collection of the Museum of Contemporary Art Australia, Sydney, and the Tate, London. Psychotopographical Landscape (Pastoral) no. 10 1990, is based on an early 20th Century work by artist Hans Heysen. The original image shows the Australian landscape through the eyes of the European settler. Bennett recontextualises this work with imagery mirroring the dot aesthetic of the Indigenous peoples of the Western Desert Movement while referencing the Aboriginal flag using red, yellow and black. This visual commentary is Bennett's response to the devastation that Aboriginal have people suffered due to European colonisation.
Leonard Joel
Jan. 21, 2021
GORDON BENNETT (born 1955) The superimposed footprint (after Margaret Preston) 1997 colour photo-lithograph 16/50
Est: $160 - $260
GORDON BENNETT (born 1955) The superimposed footprint (after Margaret Preston) 1997 colour photo-lithograph 16/50 102 x 67cm (sheet size)
Leonard Joel
Dec. 17, 2020
GORDON BENNETT (born 1955) The superimposed footprint (after Margaret Preston) 1997 colour photo-lithograph 16/50
Est: $220 - $420
GORDON BENNETT (born 1955) The superimposed footprint (after Margaret Preston) 1997 colour photo-lithograph 16/50 102 x 67cm (sheet size)
Leonard Joel
Dec. 10, 2020
GORDON BENNETT (born 1955) The superimposed footprint (after Margaret Preston) 1997 colour photo-lithograph 16/50
Est: $300 - $500
GORDON BENNETT (born 1955) The superimposed footprint (after Margaret Preston) 1997 colour photo-lithograph 16/50 102 x 67cm (sheet size)
Leonard Joel
Jul. 15, 2020
GORDON BENNETT, UNTITLED (BLACK AND BLUE), 1994
Est: $30,000 - $40,000
THE GENE & BRIAN SHERMAN CAPSULE COLLECTION V GORDON BENNETT (1955 – 2014) UNTITLED (BLACK AND BLUE), 1994 synthetic polymer paint and flashe on linen 152.0 x 121.5 cm signed and dated verso: “G Bennett 12 – 8 – 94 / … / …” bears inscription on stretcher bar verso: 3 PROVENANCE Bellas Gallery, Brisbane (stamped verso) Gene and Brian Sherman Collection, Sydney, acquired in 2000 RELATED WORK Bloodlines, 1993, acrylic on canvas, rope on wood, 3 panels: 182.0 x 425.0 cm (overall), in the collection of Queensland Art Gallery | Gallery of Modern Art, Brisbane
Deutscher and Hackett
Jul. 15, 2020
GORDON BENNETT , CAMOUFLAGE #9, 2003
Est: $35,000 - $45,000
THE GENE & BRIAN SHERMAN CAPSULE COLLECTION V GORDON BENNETT (1955 – 2014) CAMOUFLAGE #9, 2003 synthetic polymer paint on linen 182.5 x 152.0 cm signed, dated, and inscribed with title verso: G Bennett 5 – 3 – 2003 / “CAMOUFLAGE #9” /… PROVENANCE Sherman Galleries, Sydney (stamped verso) Gene and Brian Sherman, Sydney EXHIBITED Figure/Ground (Zero), Sherman Galleries, Sydney, 17 July – 9 August 2003, cat. 9 (illus. in exhibition catalogue) RELATED WORK Camouflage #7, 2003, acrylic on linen, 182.5 x 152 cm, in the collection of the Australian National University, Canberra Camouflage #8, 2003, acrylic on linen, 182.5 x 152 cm, in the collection of the Australian War Memorial, Canberra ESSAY History painting was once considered the most noble of all genres, revered in the seventeenth century foremost for its ability to relate and record for posterity both the events of history and those of the artist’s lifetime. Gordon Bennett was a painter of history and histories. As a critically and politically engaged artist, Bennett’s paintings of the early 2000s diverged from his prior Australian subject matter, addressing instead events occurring far from our shores and finding within them analogous concerns of indigenous subjugation. Camouflage #9, 2003 comes from a series of reportage paintings catalysed by political and social anxiety following the 9/11 attacks and the subsequent War on Terror. The paintings feature portraits of the late Iraqi dictator Saddam Hussein in army fatigues alongside anonymous figures in hoodies and gas-masks, successively obscuring their features with an overlay of camouflage and decorative patterns. Camouflage #9, like its related works #8 and #7 (respectively in the collections of the Australian War Memorial and the Australian National University), clearly delineates Hussein’s features in thick black lines and carefully traces the outlines of his iconic military uniform. Shown to critical acclaim in the Figure/Ground (Zero) exhibition at Sherman Galleries in Sydney, the Camouflage works are important historical documents. Created at the height of international paranoia over the existence of biological and chemical weapons of mass destruction, the Camouflage works appropriated a well-known portrait of Hussein. Camouflage #9 was painted in March of 2003, during a time when Hussein’s image was ubiquitous throughout Iraq and the Western media, and the dictator himself was in hiding. With a black commando beret poised cockily on his head and Republican Guard Field Marshall epaulettes adorning his military garb, this portrait encapsulated Hussein’s grandiose persona during his suffocating presidency. Bennett, however, creates a jarring visual experience by overlaying the portrait with a bright pattern of candy-coloured camouflage. The confronting impact of these works has been inevitably altered by historical perspective, and our current knowledge of the chain of events that occurred since this painting was created. Bennett, through his use of distorting discordant patterns, comments on the ambiguity and subterfuge of political rhetoric that existed at the time around the casus belli of the War on Terror. Ian McLean, in his exegesis for the Figure/ Ground (Zero) catalogue, links Bennett’s criticism of political rhetoric in this series to the artist’s long-standing concern with Australian post-colonial perception of indigenous peoples, creating parallels between global and local terror.1 The artist, in a 2003 interview with Bill Wright, explained that the works were about ’colonial dominance’.2 Bennett was a quintessentially post-modern painter. His works employed a unique syntax that mined the vast contemporary visual landscape – appropriating historical works of art, images from mass media and iconography that was purely the artist’s own. Reminiscent of Andy Warhol’s last self-portrait, Camouflage Self-Portrait, 1986, in the collection of the Metropolitan Museum of Art, Bennett’s Camouflage works applied these patterns to progressively abstract the once iconic image of the dictator, until Camouflage #6, where only a silhouette remained. Bennett creates a ’veil’ for the dictator, shrouding the figure in secrecy, and as McLean notes, dehumanising his ubiquitous image with the ’iconoclastic retribution of defeat’.3 1. McLean, I., Camouflage, Figure/Ground (Zero), exhibition catalogue, Sherman Galleries, Sydney, 17 July – 9 August 2003 2. The artist in conversation with Bill Wright, cited in Gellatly, K., Gordon Bennett, exhibition catalogue, National Gallery of Victoria, Melbourne, 2007, p. 105 3. McLean, I., ibid. LUCIE REEVES-SMITH
Deutscher and Hackett
Jun. 23, 2020
GORDON BENNETT - (1955-2014) - PANORAMA TORRENT (WITH FLOATING POINT OF IDENTIFICATION) 1993
Est: $28,000 - $38,000
GORDON BENNETT (1955-2014) PANORAMA TORRENT (WITH FLOATING POINT OF IDENTIFICATION) 1993 Signed, titled and dated 1993 verso Acrylic on linen 167 x 137cm $28,000/38,000
GFL Fine Art
Aug. 28, 2019
GORDON BENNETT , (1955 – 2014), NOTES TO BASQUIAT: MODERNITY, 1999 , synthetic polymer paint on linen
Est: $40,000 - $60,000
GORDON BENNETT , (1955 – 2014), NOTES TO BASQUIAT: MODERNITY, 1999 , synthetic polymer paint on linen SIGNED: signed and dated twice, and inscribed with title verso: 16-10-1999 / G Bennett / G Bennett 1610-1999 / “NOTES TO BASQUIAT: MODERNITY” / … DIMENSIONS: 182.5 x 182.5 cm PROVENANCE: Sutton Gallery, Melbourne (stamped on stretcher bar verso) pARTners Art Collective, Melbourne, acquired from the above in July 2007 EXHIBITED: Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, 5 November – 4 December 1999, cat. 6 (stamped on stretcher bar verso) Kwangju Biennale 2000: Man + Space, Kwangju Biennale Exhibition Hall - Gallery 4, Korea, 29 March – 7 June 2000 Midwinter Masters: (What’s so funny ‘bout) peace, love and understanding…?, The Gallery, Bayside Arts and Cultural Centre, Melbourne, 22 June – 18 August 2013 (illus. on exhibition catalogue front cover) LITERATURE: Aulich, A., ‘Visual Arts’, The Melbourne Review, Melbourne, issue 21, July 2013, pp. 30 (illus.), 31 ESSAY: Gordon Bennett was a painter of history and histories. A critically and politically engaged artist, Bennett presents alternative historical narratives of Australia and of contemporary world events, creating provocative works that place identity politics front and centre. In the late 1990s, he embarked on two consecutive series of paintings, the Home Décor series, and Notes to Basquiat. Both series used a conspicuous ‘sampling’ of other artists work, re-contextualising these images into symbols of the wider exclusion and disenfranchisement of indigenous peoples. Notes to Basquiat: Modernity, 1999 is a bridge between these two series, synthesising the main motifs of each into a tightly articulated composition exposing how words and images shape our cultural identity. The array of appropriated motifs within Notes to Basquiat: Modernity tesselate to create a dynamic composition, their collaged intuitive arrangement providing a decidedly contemporary aesthetic. In the upper left-hand corner, a Margaret Preston stylised female figure tumbles, caught in a modernist lattice reminiscent of the work of Dutch artist Piet Mondrian. The ideals of pure colour and form of early 20th century De Stjil abstraction appeared to Bennett as another form of exclusion. On the opposite corner, however, a pair of heads labelled “Caucasian” and “black/abo” stare blankly into the void. The former emerges from a Klansman conical shroud, the gears of his brain communicating directly with those of his subordinate comrade, like the mechanisms of a ventriloquist’s doll. Quoting the raw graffiti expressionism of Philip Guston and Jean-Michel Basquiat, Bennett identifies a more authentic form of modernist painting, intimately connected to notions of “race”, “ancestry” and “nation” scrawled in lists close-by. Playing with the flatness of the picture plane so exalted by Modernist theory, Bennett’s layers of text and appropriated images jostle for prominence. His sophisticated mimicry becomes two-fold in his quotation of Margaret Preston’s woodcut design of a fish. Preston, though well-meaning in her quest to create a truly national artistic style, produced works that corrupted sacred aboriginal motifs, and presented aboriginal people as little more than stylised caricatures of the ’noble savage’. In addressing these notes, the paintings, to the departed American artist Jean-Michel Basquiat, Bennett expressed what he felt was ‘histories of shared experience’, an affinity felt through mutual exclusion from a euro-centric contemporary art world. A humanist at heart, Bennett created works which are grounded in personal experience and an authentic voice. Bennett’s Notes to Basquiat collectively have had an extensive exhibition history, with a selection exhibited in the Kwangju Biennale 2000: Man + Space, Korea and the 9th Asia Pacific Triennial in 2001. Others are held in regional, state and national collections (National Gallery of Australia, Queensland Art Gallery and Gallery of Modern Art, National Gallery of Victoria and the Art Gallery of New South Wales) as well as international collections including Wereldmuseum, Rotterdam. LUCIE REEVES-SMITH
Deutscher and Hackett
Jul. 14, 2019
Gordon Bennett, Bennett Robot Works (Bridgehampton N
Est: $600 - $900
Gordon Bennett, Bennett Robot Works (Bridgehampton N.Y) steampunk "Lambda" sculpture number 91, executed in found objects, with a Westinghouse plaque above the Bennett Robot Works plaque with edition number, 24"h
Clars Auctions
Jul. 09, 2019
Gordon Bennett (1955-2014)
Est: $2,000 - $3,000
Coloured People, 2009, acrylic on paper, dated, titled and signed below image ‘28-6-2000, Coloured People '09, J.Citizen’
Shapiro Auctioneers
Jun. 04, 2019
GORDON BENNETT (1955-2014) Thin Lines #21 2004 acrylic on paper
Est: $3,000 - $4,000
GORDON BENNETT (1955-2014) Thin Lines #21 2004 acrylic on paper 122 x 80cm PROVENANCE: Sutton Gallery, Melbourne 2004 Private collection, Melbourne EXHIBITIONS: Gordon Bennett, Greenaway Art Gallery, Adelaide, 5th - 30th May 2004
Leonard Joel
Mar. 19, 2019
GORDON BENNETT (1955 - 2014) Thin Lines #21 2004 acrylic on paper
Est: $4,000 - $6,000
GORDON BENNETT (1955 - 2014) Thin Lines #21 2004 acrylic on paper 122 x 80cm PROVENANCE: Sutton Gallery, Melbourne 2004 Private collection, Melbourne EXHIBITIONS: Gordon Bennett, Greenaway Art Gallery, Adelaide, 5th - 30th May 2004
Leonard Joel
Nov. 28, 2018
GORDON BENNETT, (1955 – 2014), EXPLORER (THE INLAND SEA) CONFRONTATION, 1994, synthetic polymer paint on canvas
Est: $12,000 - $15,000
GORDON BENNETT, (1955 – 2014), EXPLORER (THE INLAND SEA) CONFRONTATION, 1994, synthetic polymer paint on canvas SIGNED: signed, dated and inscribed with title verso: G Bennett / 2-2-94 / ... / EXPLORER (THE INLAND SEA) / CONFRONTATION DIMENSIONS: 92.0 x 65.0 cm PROVENANCE: Bellas Gallery, Brisbane Company collection, Brisbane Christie’s, Melbourne, 25 June 2002, lot 49 Private collection, Victoria Lawson~Menzies, Sydney, 23 May 2007, lot 21 (as ‘Explorer Confrontation (The Inland Sea)’) Private collection, Perth EXHIBITED: Gordon Bennett: Dismember/Remember, Bellas Gallery, Brisbane, 1 – 18 March 1994, cat. 23
Deutscher and Hackett
Nov. 27, 2018
Gordon Bennett (1955-2014) Couldn't Be Fairer 1994
Est: $6,000 - $8,000
Glued to the back of this painting is page 184 from the book Blood On the Wattle by Bruce Elder published in 1988. An edited excerpt reads as follows: 'Of the Queensland Police Force it is impossible to write with patience. It is enough to say of it that this body, organised and paid for by us, is sent to work which its officers are forbidden to report in detail, and that a true record of its proceedings would shame us before our fellow countrymen in every part of the British Empire. When the police have entered on the scene, the race conflict goes on apace. It is a fitful war of extermination waged upon the blacks, something after the fashion in which other settlers wage war upon noxious wild beasts.... From the Queenslander Newspaper. Well known Aboriginal activist Mick Miller made a movie called Couldn't Be Fairer about the conditions of Aborigines in Queensland in the 1980s. In the movie one Aboriginal recorded his experiences with the local police force. They threw me to the ground, they kicked me and busted my toungue. No whitefellers get locked up here, its all blackfellers. Chook Henry he got a flogging from the coppers too. They gave him a hiding and when he was knocked to the ground they pissed on him. F.J. Gillen, 'an expert on Aborigines' was asked at a Senate Select Committee meeting on the Aborigines Bill in 1899, whether a black and white infant were equal in the matter of intelligence. He replied that they were, at that period of life. But even if an Aborigine were to be a graduate of a university, and returned to his place of origin, he would revert to barbarism.
Cooee Art
Aug. 28, 2018
GORDON BENNETT 1955-2014 Edge (With Displaced Point of Identification)1993 synthetic polymer paint on canvas 150 x 150 cm
Est: $30,000 - $40,000
GORDON BENNETT 1955-2014 Edge (With Displaced Point of Identification)1993 synthetic polymer paint on canvas signed, dated and inscribed '"EDGE (WITH DISPLACED POINT OF / IDENTIFICATION) / G Bennett 17-1-1993' verso 150 x 150 cm PROVENANCE Art Galleries Schubert, Surfers Paradise (label verso) Private Collection, Melbourne, acquired from the above in 2001
Smith & Singer
Aug. 09, 2018
GORDON BENNETT (1955-2014), Psychotopographical Landscape (Pastoral) No.12 1990
Est: $5,000 - $7,000
GORDON BENNETT (1955-2014), Psychotopographical Landscape (Pastoral) No.12 1990 61.0 x 71.5 cm signed and dated verso: G Bennett/ 5.12.1990 synthetic polymer paint on Hans Heysen print on board
Menzies
Jun. 13, 2018
GORDON BENNETT , (1955 2014) , CAMOUFLAGE #2, 2003 , synthetic polymer paint on Belgian linen
Est: $40,000 - $60,000
GORDON BENNETT , (1955 2014) , CAMOUFLAGE #2, 2003 , synthetic polymer paint on Belgian linen SIGNED: signed, dated and inscribed with title verso: G Bennett 23-2-2003 / CAMOUFLAGE #2 / DIMENSIONS: 182.5 x 152.0 cm PROVENANCE: Sherman Galleries, Sydney (stamped verso) Gene and Brian Sherman, Sydney EXHIBITED: Figure/Ground (Zero), Sherman Galleries, Sydney, 17 July 9 August 2003, cat. 2 (illus. in exhibition catalogue) Disobedience, Ivan Dougherty Gallery, University of New South Wales, Sydney, 8 September 15 October 2005 Gordon Bennett, a survey, National Gallery of Victoria, Melbourne, 6 September 2007 16 January 2008 and touring Queensland Art Gallery/Gallery of Modern Art, Brisbane, 10 May 3 August 2008, Art Gallery of Western Australia, Perth, 20 December 2008 22 March 2009 (label attached verso) LITERATURE: Hill, P., Zero Hour, Sydney Morning Herald, Sydney, 2 August 2003 McLean, I., Camouflage, Figure/Ground (Zero) exhibition catalogue, Sherman Galleries, Sydney, 17 July 9 August 2003 Murray-Cree, L. (ed.), Twenty. Sherman Galleries 1986 2006, Craftsman House, Sydney, 2006, p. 122 (illus. installation) Gellatly, K., Gordon Bennett: A Survey, National Gallery of Victoria, Melbourne, 2007, pl. 63, n.p. (illus.) RELATED WORK: Camouflage #7, 2003, acrylic on linen, 182.5 x 152.0 cm, in the collection of the Australian National University, Canberra Camouflage #8, 2003, acrylic on linen, 182.5 x 152.0 cm, in the collection of the Australian War Memorial, Canberra Gordon Bennett lived and worked in Brisbane SELECTED EXHIBITIONS 2016 2018 Be Polite. Gordon Bennett, Institute of Modern Art, Brisbane; Perth Institute of Contemporary Arts, Perth; Contemporary Art Gallery, Vancouver, Canada; McMaster Museum of Art, Hamilton, Ontario, Canada 2017 The National 2017, Art Gallery of New South Wales, Sydney 2014 8th Berlin Biennale for Contemporary Art, Museen Dahlem, Berlin, Germany 2012 Documenta 13, Kassel, Germany 2008 16th Biennale of Sydney: Revolutions forms that turn, Art Gallery of New South Wales, Sydney 2007 Gordon Bennett: A Survey, National Gallery of Victoria, Melbourne and touring to Queensland Art Gallery / Gallery of Modern Art, Brisbane; Art Gallery of Western Australia, Perth 2005 International Biennale of Contemporary Art in Prague, National Gallery in Prague, Czech Republic 2004 2005 Three Colours, Gordon Bennett and Peter Robinson, Heide Museum of Modern Art, Victoria, touring exhibition 1999 History and Memory in the Art of Gordon Bennett, Brisbane City Gallery, Brisbane and touring in UK and Norway 1995 Transculture, Palazzo Giustinian Lolin, Venice Biennale, Italy touring to Naoshima Contemporary Art Museum, Japan 1992 9th Biennale of Sydney: The Boundary Rider, Art Gallery of New South Wales, Sydney 1989 Perspecta, Art Gallery of New South Wales, Sydney SELECTED LITERATURE Hughes, H., (et al.) Be Polite, Institute of Modern Art, Brisbane and Sternberg Press, Berlin, 2017 Smith, T., History and Memory in the Art of Gordon Bennett, Ikon Gallery, Birmingham and Henie-Onstad Kunstsenter, Olso, 1999 McLean, I., and Bennett, G., The Art of Gordon Bennett, Craftsman House, Sydney, 1996 Butler, R., Gordon Bennett: paintings 1987 1991, Epernay Cedex, France, 1992 SELECTED COLLECTIONS Art Gallery of New South Wales, Sydney Art Gallery of South Australia, Adelaide Art Gallery of Western Australia, Perth Australian National Gallery, Canberra Australian War Memorial, Canberra Museum of Contemporary Art, Sydney National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne National Portrait Gallery, Canberra Queensland Art Gallery / Gallery of Modern Art, Brisbane Tasmanian Museum and Art Gallery, Hobart TATE Modern, London, United Kingdom REPRESENTED BY Sutton Gallery, Melbourne Milani Gallery, Brisbane
Deutscher and Hackett
May. 16, 2018
GORDON BENNETT 1955-2014 Home Décor (Algebra) Relâche 1998 synthetic polymer paint on canvas 182.7 x 182.3 cm
Est: $50,000 - $60,000
GORDON BENNETT 1955-2014 Home Décor (Algebra) Relâche 1998 synthetic polymer paint on canvas signed, dated and inscribed 'G Bennett Sept 1998 / "HOME DÉCOR (ALGEGRA)"' RELÂCHE' verso 182.7 x 182.3 cm PROVENANCE Sutton Gallery, Melbourne Private Collection, United Kingdom, acquired from the above EXHIBITED Gordon Bennett: Home Décor (Calculus), Sutton Gallery, Melbourne 3-31 October 1998, no. 1
Smith & Singer
Apr. 18, 2018
GORDON BENNETT, (1955 – 2014), Camouflage #6, 2003, synthetic polymer paint on linen
Est: $40,000 - $60,000
GORDON BENNETT, (1955 – 2014), Camouflage #6, 2003, synthetic polymer paint on linen SIGNED: signed, dated and inscribed with title verso: G Bennett 29 Feb 2003 / “CAMOUFAGE [sic] #6 / … DIMENSIONS: 182.5 x 152.0 cm PROVENANCE: Sherman Galleries, Sydney (stamped verso) Gene and Brian Sherman collection, Sydney EXHIBITED: Figure/Ground (Zero), Sherman Galleries, Sydney, 17 July – 9 August 2003, cat. 10 (illus. in exhibition catalogue) Disobedience, Ivan Dougherty Gallery, Sydney, 8 September – 15 October 2005 LITERATURE: Hill, P., ‘Zero Hour’, Sydney Morning Herald, Sydney, 2 August 2003 McLean, I., ‘Camouflage’, Figure/Ground (Zero) exhibition catalogue, Sherman Galleries, Sydney, 17 July – 9 August 2003 RELATED WORK: Camouflage #7, 2003, acrylic on linen, 182.5 x 152 cm, in the collection of the Australian National University, Canberra Camouflage #8, 2003, acrylic on linen, 182.5 x 152 cm, in the collection of the Australian War Memorial, Canberra ESSAY: History painting was once considered the most noble of all genres of painting, revered in the 17th century foremost for its ability to document and record for posterity both the events of the past and those of the artist’s lifetime. Gordon Bennett was a painter of history and histories. As a critically and politically engaged artist, Bennett articulated alternative historical narratives of Australia and of contemporary world events, creating provocative works that placed identity politics front and centre. Camouflage #6, 2003 comes from a series of reportage paintings that most clearly displayed Bennett’s brief international focus. Catalysed by political and social anxiety following the 9/11 attacks and the subsequent War on Terror, the series comprises portraits of the late Iraqi dictator Saddam Hussein in army fatigues and of anonymous soldiers wearing gas-masks, their features uniformly mottled and obscured with an overlay of camouflage and decorative patterns. Shown to critical acclaim in the Figure/Ground (Zero) exhibition at Sherman Galleries, Sydney, the Camouflage works are important historical documents, distilling the artistic and socio-political zeitgeist of the years immediately after the turn of the twentieth century. Created at the height of international paranoia over the existence of biological and chemical weapons of mass destruction, the Camouflage works appropriated a propaganda portrait of Hussein that had been widely distributed by Western media outlets, at a time when the dictator was still in hiding. The confronting impact of these works has inevitably been altered by historical perspective and our knowledge of the subsequent chain of events since they were created. Heavily distorting and masking the features of his subjects with military apparel and abstract patterns, Bennett comments on the ambiguity and subterfuge of political rhetoric around the casus belli of the War on Terror. Ian Mclean, in his essay for the Figure/ Ground (Zero) catalogue, links Bennett’s criticism of political rhetoric to the artist’s long-standing concern with Australian post-colonial perception of indigenous peoples, creating parallels between global and local terror.1 The artist, in a 2003 interview with Bill Wright, explained that the works were about ’colonial dominance’.2 Bennett was a quintessentially post-modern painter. His works employed a unique syntax that mined the vast contemporary visual landscape – appropriating historical works of art and images from mass media –as well as incorporating iconography that was purely the artist’s own. In these works Bennett applies bright colours to the American Woodland military camouflage pattern (used by the US Army from 1981 – 2005) and to devotional Turkish Ogival designs used in Koranic decoration3 to progressively render the once iconic image of the dictator increasingly abstract – in Camouflage #6 only a silhouette remains. Reminiscent of Andy Warhol’s last self-portrait, Camouflage Self-Portrait, 1986, in the collection of the Metropolitan Museum of Art, Bennett’s Camouflage works created a ’veil’ for the dictator, shrouding the figure in secrecy, and as McLean notes, dehumanising his ubiquitous image with the ‘iconoclastic retribution of defeat’.4 1. McLean, I., Camouflage, Figure/Ground (Zero), exhibition catalogue, Sherman Galleries, Sydney, 17 July – 9 August 200 2. The artist in conversation with Bill Wright, cited in Gellatly, K., Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 10 3. Stanhope, Z., ‘Response and Riposte in the Art of Gordon Bennett and Peter Robinson’, Gordon Bennett and Peter Robinson: Three Colours, Institute of Modern Art, Brisbane, 26 April – 4 June 200 4. McLean, I., ibid. LUCIE REEVES-SMITH
Deutscher and Hackett
Dec. 14, 2017
GORDON BENNETT (1955-2014) Gnome 2008 plaster and acrylic, ed. 19/100 hand cast, individually painted and fired
Est: $600 - $800
GORDON BENNETT (1955-2014) Gnome 2008 plaster and acrylic, ed. 19/100 hand cast, individually painted and fired signed,dated and editioned inside
Leonard Joel
Jun. 15, 2017
GORDON BENNETT (1955-2014) Gnome 2008 plaster and acrylic, ed. 19/100 hand cast, individually painted and fired
Est: $700 - $1,000
GORDON BENNETT (1955-2014) Gnome 2008 plaster and acrylic, ed. 19/100 hand cast, individually painted and fired signed,dated and editioned inside
Leonard Joel
May. 11, 2017
GORDON BENNETT (1955-2014), Home Décor (De Stijl + Preston) No. 4 1996
Est: $8,000 - $10,000
GORDON BENNETT (1955-2014), Home Décor (De Stijl + Preston) No. 4 1996 synthetic polymer paint on paper 80.0 x 122.0 cm signed, dated and inscribed verso: "HOME DÉCOR (De STIJL + PRESTON) No 4"/ G Bennett 7.5.96/ Acrylic on Paper/ 80 x 122 cms Sutton Gallery, Melbourne, 1997 Private collection, Melbourne
Menzies
May. 09, 2017
Gordon Bennett (1955-2014)
Est: $2,000 - $3,000
Gordon Bennett (1955-2014) Christmas #1, 2008 acrylic on canvas, signed, dated and titled verso 'Christmas #1, 2008, G. Bennett'
Shapiro Auctioneers
Mar. 21, 2017
GORDON BENNETT (1955-2014) Gnome 2008 plaster and acrylic, ed. 19/100 hand cast, individually painted and fired
Est: $800 - $1,200
GORDON BENNETT (1955-2014) Gnome 2008 plaster and acrylic, ed. 19/100 hand cast, individually painted and fired signed,dated and editioned inside EXHIBITIONS: Gordon Bennett Retrospective, QAGoMA, Brisbane 2008
Leonard Joel
Sep. 21, 2016
GORDON BENNETT (1955-2014), Bloodlines 2 1993
Est: $16,000 - $20,000
GORDON BENNETT (1955-2014) Bloodlines 2 1993, synthetic polymer paint on canvas over plywood with synthetic polymer paint stained rope, 100.0 x 100.0 cm signed, dated and inscribed verso: BLOODLINES II/ 12-11-93/ GBennett/ Acrylic on cotton duck/ + rope on wood/ 100 x 100 cms
Menzies
Sep. 13, 2016
GORDON BENNETT, (1955 - 2014), OBNOXIOUS LIBERALS (TO GUSTON & BASQUIAT), 2002, synthetic polymer paint and wood boomerang on canvas on board
Est: $5,000 - $7,000
GORDON BENNETT, (1955 - 2014), OBNOXIOUS LIBERALS (TO GUSTON & BASQUIAT), 2002, synthetic polymer paint and wood boomerang on canvas on board SIGNED: inscribed and dated lower right: John Citizen 6.1.02 / (Gordon Bennett is dead / imaginary / or left this place, ashamed to be / Australian, too alienated to / leave his house he left the / country instead to find some- / where he wont be demonised / anymore by white hypocrites / and racists!) Obnoxious Liberals (to Guston + Basquiat) DIMENSIONS: 35.0 x 65.0 cm PROVENANCE: The Redfern Community Foundation, Sydney (label attached verso) Private collection, New South Wales EXHIBITED: No Shame No More, auction of personalised boomerangs in aid of Aunt Pollys Centre, Redfern, Sothebys, Sydney, 2002
Deutscher and Hackett
Jun. 23, 2016
GORDON BENNETT (1955-2014), Notes to Basquiat series (i) Animism (ii) Big Shoes (iii) High Moral Ground (iv) Prayer (v) Primal 2002
Est: $3,000 - $5,000
GORDON BENNETT (1955-2014) , Notes to Basquiat series (i) Animism (ii) Big Shoes (iii) High Moral Ground (iv) Prayer (v) Primal, 2002 computer generated archival inkjet print (5), 48.5 x 33.0 cm (each, sheet), edition: 2/25| each numbered, titled, signed and dated below image
Menzies
May. 04, 2016
GORDON BENNETT, (1955 - 2014), NOTES TO BASQUIAT
Est: $18,000 - $25,000
GORDON BENNETT, (1955 - 2014), NOTES TO BASQUIAT: SHAMAN II, 2001, synthetic polymer paint on linen SIGNED: signed, dated and inscribed verso: - Bennett 29-03-2001 - "Notes to Basquiat - Shaman II - [...] DIMENSIONS: 121.5 - 121.5 cm PROVENANCE: Sherman Galleries, Sydney Private collection, Melbourne EXHIBITED: Gordon Bennett: Notes to Basquiat: Modern Art, Sherman Galleries Goodhope, Sydney, 17 May - 9 June 2001
Deutscher and Hackett
May. 04, 2016
GORDON BENNETT, (1955 - 2014) - NOTES TO BASQUIAT
Est: $40,000 - $60,000
GORDON BENNETT, (1955 - 2014) - NOTES TO BASQUIAT: (AB) ORIGINAL, 1999, synthetic polymer paint on linen DIMENSIONS: 182.5 - 182.5 cm SIGNED: signed, dated and inscribed verso: - Bennett 3-9-1999 - NOTES TO BASQUIAT: (ab) original - [] PROVENANCE: Sherman Galleries, Sydney Gene and Brian Sherman collection, Sydney EXHIBITED: Gordon Bennett Notes to Basquiat: One Tense Moment (episode two), Sherman Galleries, Sydney, - November - 4 December 1999, cat. - Unscripted: Language in Contemporary Australian Art, Art Gallery of New South Wales, Sydney, 20 May - 24 July, 2005 LITERATURE: The Galleries, Sydney Morning Herald, - November 1999, p. 17 McLean I., Probability, rap and coincidence: notes to Basquiat in Gordon Bennett: One Tense Moment (episode two), exhibition catalogue, Sherman Galleries, Sydney, 1999, unpaginated (illus.) Man - Space: Kwangju Biennale 2000, exhibition catalogue, Kwangju Biennale Foundation, South Korea, 2000, p. 273 (illus.) Israel, G., Senior Artwise 2: Visual Arts 11-12, Jacaranda Press, Milton, Queensland, 2003, (illus., front cover and p. 163) Murray Cree, L., Twenty: Sherman Galleries 1986-2006, Craftsman House - Thames and Hudson, Melbourne, 2006, p. 123 (illus.) RELATED WORKS: Notes to Basquiat (In The Future Art Will Not Be Boring), 1999, collection of the Art Gallery of New South Wales, Sydney Notes to Basquiat (In the future everything will be as certain as it used to be) 1999, collection of The Wereldmuseum, Rotterdam Notes to Basquiat: Double vision, 2000, collection of the National Gallery of Victoria, Melbourne Notes to Basquiat: Poet and muse, 2000, collection of the National Gallery of Victoria, Melbourne ESSAY: In the wake of his untimely death less than two years ago, Gordon Bennett has been championed as a ‘hero’ of Australian art who drew inspiration from Australia’s colonial past and postcolonial present to powerfully interrogate the role of language in structuring the ideologies that so determine our personal and cultural identities. Indeed, perhaps more directly and explicitly than any other Australian artist, he engaged in the debate on republicanism, sovereignty and citizenship in an effort to highlight the plight of indigenous people not just locally, but internationally, who have become estranged as a result of colonialism. Arguing that the codes of Western art, literature, law and science introduced with European settlement have become a prison from which indigenous people cannot escape – but rather, only appropriate – Bennett sought to picture such manifold ‘conspiracies’, employing the deconstructivist aesthetic of postmodernism to re-present the histories and politics underlying the Australian social landscape. With the invitation to exhibit in a contemporary art fair at New York’s Gramercy Hotel as catalyst, in 1998 Bennett embarked upon his celebrated ‘Notes to Basquiat’ series paying homage to the work of Neo-Expressionist painter Jean-Michel Basquiat – the first African – American to receive international art world acclaim who also shared a similar preoccupation with semiotics and visual language as instruments of marginalisation. Conceived as an ‘open letter’ to Basquiat who died ten years earlier, the series appropriates the raw street style for which Basquiat became renowned in an attempt to communicate via ‘the language of the New York context… the similarities and crossconnections of our shared experience as human beings in separate worlds that each seek[s] to exclude, objectify and dehumanise the black body and person.’1 Yet if Bennett borrows ‘signature’ motifs from Basquiat’s oeuvre such as his use of lists and rap-like banter, he nevertheless imbues them with his own uniquely Australian symbolism. As Jill Bennett elucidates, Bennett ‘...does not simply imitate or act as Basquiat... [Rather] he is interested in how Basquiat’s work might be encountered from a different place, and what happens when different accounts of history and experience are registered simultaneously within a given frame...’2 Accordingly, in the present Notes to Basquiat: (Ab)original, 1999, the experience of race and life generally in the northern and southern hemispheres is both differentiated and conflated through Bennett’s highly sophisticated mimicry of Basquiat’s spontaneous urban style. Anchoring the composition is a confronting tortured skeletal figure, thatembodies a shared stereotyping of ‘blackness’, yet more universally suggests a common humanity – that beneath one’s skin ‘we are all alike underneath’. Such is reiterated by the work’s unfolding lines of text ‘the same but different / different but the same’ – a notion which not only reverberates throughout the entire series, but is similarly reflected in Bennett’s knowing relationship to Basquiat and his practice. Ultimately betraying Bennett’s highly idiosyncratic vision however, is his characteristic engagement of the viewer here through his thesaurusinspired word-play designed to activate the complex web connecting sight, speech and thought, and thus highlights the links between history and meaning established in his oeuvre. Deliberately inconclusive – ‘original’, ‘archetype’, ‘manuscript’, ‘master’, ‘parent’ etc – Notes toBasquiat: (Ab)original eloquently attests to the compelling possibilities offered by Bennett’s art and its embodiment of ‘a process being kept in play’; and as he poignantly muses, ‘Poetry doesn’t seek closure on its meaning. I think it seeks to go beyond the words on the paper into a world of metaphor, allegory, images and ideas in order to say ‘something’ that may not be said with just words.’3 1. Bennett, G., quoted in Gordon Bennett, National Gallery of Victoria, Melbourne, 2007, p. 21 2. ibid. 3. ibid., p. 22 VERONICA ANGELATOS
Deutscher and Hackett
Jul. 21, 2015
GORDON BENNETT 1955-2014 Home Decor (Detail) Superimposed Footprint with Schools of Thought 1997 synthetic polymer paint on linen
Est: $6,000 - $9,000
GORDON BENNETT 1955-2014 Home Decor (Detail) Superimposed Footprint with Schools of Thought 1997 synthetic polymer paint on linen signed, dated and inscribed 'G Bennett 15-8-1997' verso 50.5 x 40.5 cm PROVENANCE Sutton Gallery, Melbourne (label verso) Private Collection, Melbourne Sutton Gallery, Melbourne Private Collection, Perth, acquired from the above on 26 February 2005 EXHIBITED Gordon Bennett: Home Décor (Calculus), Sutton Gallery, Melbourne, 3-31 October 1998, no. 10
Smith & Singer
Apr. 28, 2015
GORDON BENNETT 1955-2014 Home Decor (Preston + De Stijl = Citizen) Men with Weapons 1997 synthetic polymer paint on linen (diptych)
Est: -
GORDON BENNETT 1955-2014 Home Decor (Preston + De Stijl = Citizen) Men with Weapons 1997 synthetic polymer paint on linen (diptych) signed, dated and inscribed 'G Bennett 31-3-1997 / "HOME DECOR / PRESTON + De STIJL = CITIZEN" 'verso (left panel); signed and dated 'G Bennett 31-3-1997 ' verso (right panel) 182.5 x 365 cm (overall) PROVENANCE Sutton Gallery, Melbourne Private Collection, Melbourne EXHIBITED Gordon Bennett: Preston + De Stijl = Citizen (Cold Comfort), Sutton Gallery, Melbourne 12 April - 14 May 1997 OTHER NOTES ESTIMATE ON REQUEST
Smith & Singer
Feb. 28, 2015
Gordon Bennett Wettfahrt Stuttgart 1912 - Frankierte und
Est: -
am 27.10.1912 postalisch gelaufene Karte, frankiert mit 3 Pfennig Marke Germania.
Auktionshaus Eppli
Feb. 27, 2014
GORDON BENNETT born 1955 Notes to Basquiat: Hand
Est: $25,000 - $35,000
GORDON BENNETT born 1955 Notes to Basquiat: Hand of God 1999 synthetic polymer paint on linen signed, dated and inscribed verso: G Bennett 17-9-1999/ "NOTES TO BASQUIAT: HAND OF GOD"/ Acrylic on Linen 182.5 x 182.5 cms| 182.5 x 182.5 cm
Lawson~Menzies
Nov. 21, 2013
GORDON BENNETT born 1955 Notes to Basquiat
Est: $1,000 - $2,000
GORDON BENNETT born 1955 Notes to Basquiat (Prayer); Notes to Basquiat (Primal) 2002computer generated archival ink print on archival paper (pair) each editioned, titled, signed and dated below image edition: A/P (each edition of 25)
Lawson~Menzies
Nov. 21, 2013
GORDON BENNETT born 1955 Bloodlines 2
Est: $16,000 - $20,000
GORDON BENNETT born 1955 Bloodlines 2 1993synthetic polymer paint on canvas over plywood with synthetic polymer paint stained rope signed, dated and inscribed verso: BLOODLINES II/ 12-11-93/ GBennett/ Acrylic on cotton duck/ + rope on wood/ 100 x 100 cms
Lawson~Menzies