Arthur Boyd Sold at Auction Prices

Painter, Sculptor, b. 1920 - d. 1999

Arthur Boyd's artist profile includes work in a variety of media, but he is best known as one of Australia’s leading 20th-century painters. Born in Melbourne, Boyd was the third generation of a prolific family of artists that ultimately came to include his three children. At the age of 14, he left school to focus on painting. Arthur Boyd's paintings responded to influences including the Vietnam War and poverty in the Outback. As an artist, Arthur Boyd was particularly interested in landscapes, often painting scenes of the Shoalhaven River, which was near his home and studio.

Other Arthur Boyd artwork includes lithographs, book illustrations, and sculptures. He was also the subject of a 1986 documentary, Figures in the Landscape: Arthur Boyd. You can find collectible landscape paintings for sale at Invaluable when on the search for your next piece of artwork.

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  • Arthur Merric Bloomfield Boyd, Australia, Britain (1920-1989), The Princess of Shamakhan, Etching
    May. 11, 2025

    Arthur Merric Bloomfield Boyd, Australia, Britain (1920-1989), The Princess of Shamakhan, Etching

    Est: $600 - $800

    Arthur Merric Bloomfield Boyd Australia, Britain (1920-1989) The Princess of Shamakhan Etching Signed, entitled and numbered in pencil to lower margin

    Theodore Bruce Auctioneers & Valuers
  • Arthur Boyd
    May. 08, 2025

    Arthur Boyd

    Est: $20 - $30

    Arthur Boyd

    Lawsons
  • ARTHUR BOYD, Australian (1920-1999), Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    May. 07, 2025

    ARTHUR BOYD, Australian (1920-1999), Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $600 - $800

    ARTHUR BOYD Australian, (1920-1999) Bundanon Quartet II lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • ARTHUR BOYD, BERWICK LANDSCAPE WITH FARMER AND CREEK, c.1944 – 48
    May. 07, 2025

    ARTHUR BOYD, BERWICK LANDSCAPE WITH FARMER AND CREEK, c.1944 – 48

    Est: $25,000 - $35,000

    ARTHUR BOYD (1920 - 1999) BERWICK LANDSCAPE WITH FARMER AND CREEK, c.1944 – 48 oil on canvas 51.0 x 61.0 cm signed and dated lower centre: 19... Arthur Boyd PROVENANCE Private collection, Melbourne Private collection, Melbourne, acquired from the above LITERATURE Probably: Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, cat. 5.2, p. 245 (as ‘Landscape with man and cow’, formerly in the collection of Mr and Mrs P. Ryan, Melbourne) © Arthur Boyd/Copyright Agency 2025

    Deutscher and Hackett
  • ARTHUR BOYD, NEBUCHADNEZZAR BEING STRUCK BY LIGHTNING IN A ROCKY LANDSCAPE WITH BLACK RAM, c.1968 – 71
    May. 07, 2025

    ARTHUR BOYD, NEBUCHADNEZZAR BEING STRUCK BY LIGHTNING IN A ROCKY LANDSCAPE WITH BLACK RAM, c.1968 – 71

    Est: $30,000 - $40,000

    ARTHUR BOYD (1920 - 1999) NEBUCHADNEZZAR BEING STRUCK BY LIGHTNING IN A ROCKY LANDSCAPE WITH BLACK RAM, c.1968 – 71 oil on canvas on composition board 108.0 x 112.5 cm signed lower right: Arthur Boyd PROVENANCE Australian Galleries, Melbourne Private collection, Melbourne LITERATURE Boase, T.S.R.,  Nebuchadnezzar, Thames and Hudson, London, 1972, pl. 24 (illus.) RELATED WORK Nebuchadnezzar being struck by lightning, 1969, oil on canvas, 174.3 x 183.2 cm, in the collection of the National Gallery of Australia, Canberra ESSAY ‘I’d like to feel that through my work there is a possibility of making a contribution to a social progression or enlightenment. It would be nice if the creative effort or impulse was connected with a conscious contribution to society, a sort of duty of service.’1 According to the Old Testament, Nebuchadnezzar, king of ancient Babylon (602 – 562 BCE), was a successful ruler who fell from grace for placing his own self-aggrandisement before God. As punishment for his pride and arrogance, he thus lost his sanity and was banished into the wilderness for seven years where he underwent various trials and tribulations: ‘...his heart was made like the beasts, and his dwelling was with the wild asses: they fed him with grass like oxen, and his body was wet with the dew of heaven; til he knew that the most high God ruled in the kingdom of men, and that he appointeth over it whomsoever he will.’2 Although the Book of Daniel had provided inspiration to the visual arts for centuries prior from the medieval façade reliefs of Notre Dame La Grande, Poitiers to the Romantic prints of visionary William Blake, no painter arguably ever devoted him or herself more fully to imagining the degenerative experiences of Nebuchadnezzar in the wilderness than Australian modernist, Arthur Boyd. Imbuing his king with Lear-like characteristics, Boyd embarked upon this impressive Nebuchadnezzar series in 1966 to illustrate a text on the theme by the scholar Thomas S. R. Boase (who subsequently published 34 of the works in his dedicated tome in 1974).3 Characterised by its frenzied energy, vivid colour and profound symbolic permutations, the series still remains one of the artist’s most sustained, encompassing more than a hundred works and featuring some of the most sumptuously executed paintings of his career. Elaborating upon the appeal of the theme for the artist, Boase suggests: ‘Here is a subject that leads immediately into Boyd's preoccupation in many other works with the fusion between man and natural forces, the involvement of man and beast... Other echoes link with Boyd's own symbolism, the sinister dark birds, the gentle mourning dog. Behind the figures there are traces of the Australian landscape of his early inspiration. But if these works are enriched with such references, the myth is newly and freshly created, a second Daniel come to judge our own contemporary obscure and secret impulses.’4 Given the artist’s renowned social conscience, indeed it is perhaps not coincidental that his Nebuchadnezzar series was produced at the height of the Vietnam War when audiences internationally were assailed with images in the mass media of cruel dictatorial regimes: villages incinerated, men and women tortured, children screaming from the pain of napalm. As one author notes, ‘self-immolations in protest actually took place on Hampstead Heath near Boyd’s house... and once more, a biblical subject by him was seen to be an allegory of the descent of humanity in a conflicted world.’5 Accompanied here by the signature Boydian motif of the black ram, in  Nebuchadnezzar being struck by lightning in a rocky landscape with black ram, c.1968 - 71, the king, ablaze in golden flames, is depicted as a pathetic figure – on his knees, half-human, half-animal, crawling pitifully within an acid-green field. As with the finest of Boyd’s Nebuchadnezzar images, the work offers an empathetic and emotive response to a harsh tale of moral instruction, giving compelling form to ‘…good and evil; things elemental and mysterious, things intensely human and vulnerable.’6 1. Arthur Boyd, cited at https://www.bundanon.com.au/collection/exhibitions-page/active-witness/ 2. Boase, T. S.,  Nebuchadnezzar, Thames and Hudson, London, 1972, p. 20 3. Pearce, B.,  Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 1993, p. 26 4. Boase, op. cit., p. 42 5. Pearce, op. cit. 6. Oliver, C., ‘A Welcome to Arthur Boyd’ in Retrospective Exhibition of Paintings, Drawings and Other Works by Arthur Boyd, Richard Demarco Gallery, Edinburgh, Scotland, 1969, n. p. VERONICA ANGELATOS © Arthur Boyd/Copyright Agency 2025

    Deutscher and Hackett
  • ARTHUR BOYD, THE PRODIGAL SON AND A WATERFALL, 1967
    May. 07, 2025

    ARTHUR BOYD, THE PRODIGAL SON AND A WATERFALL, 1967

    Est: $60,000 - $80,000

    ARTHUR BOYD (1920 - 1999) THE PRODIGAL SON AND A WATERFALL, 1967 oil on canvas 109.0 x 114.0 cm signed lower right: Arthur Boyd PROVENANCE The Johnstone Gallery, Brisbane Sir Asher and Lady Joel, Sydney Thence by descent Private collection, Sydney EXHIBITED Arthur Boyd, The Johnstone Gallery, Brisbane, 25 July – 9 August 1967, cat. 50 ESSAY As a cautionary tale of extravagance, destitution, reconciliation and final redemption, the parable of the Prodigal Son clearly held great appeal for Arthur Boyd who revisited the theme at multiple points throughout his vast and varied oeuvre. Embedded in his imagination from an early age through the ritual reading of biblical stories to him by his grandmother, Emma Minnie Boyd (1858 – 1963)1, significantly such preoccupation was augmented during the mid to late forties by the artist’s study of Old Master reproductions, and in particular, the extensive Rembrandt print collection housed in the National Gallery of Victoria.2 Culminating most famously in his seminal mural cycle at the Harkaway family property, The Grange, commissioned in 1948 by his uncle Martin Boyd (who himself had returned to the family fold after an absence of 27 years), indeed these early iterations of the theme eloquently attest to the fusion of the sacred with the deeply personal in Boyd’s art, with such ancient biblical stories invariably transformed into ciphers of modern life.   Recounted in the Gospel of Luke, the parable of the Prodigal Son narrates the tale of a son who beseeched his father to bequeath him his share of the family estate early so he could travel and make his fortune. Seduced by worldly vices in foreign lands, thus he subsequently squandered his wealth on wild living, falling into poverty and forced to become a swineherd. Starving and repentant, the son eventually returns to his father seeking forgiveness, which is readily granted by the magnanimous patriarch. Featuring this joyful reunion of father and son, the present painting nevertheless encapsulates a marked departure from Boyd’s earlier, Old Master-inspired treatment of the episode – both in its iconography and stylistic approach. Offering a highly expressive, gestural interpretation that employs several signature motifs all fused within a rolling bush landscape, the composition here would seem, rather, more reminiscent of the artist’s iconic Nebuchadnezzar series which he commenced in 1966 and exhibited in Australia and the United Kingdom in 1968 and 1969 respectively (see lot 42).   Of particular relevance are Boyd’s depictions of Nebuchadnezzar vividly evoking the King of Babylon’s descent into madness, many of which bear affinities with the present work in the overall abstract fusion of figurative elements with natural shrubland surrounds and inclusion of signature motifs such as the waterfall and ominous blackbirds. Moreover, as in the Nebuchadnezzar series, here the Australian bush similarly becomes a site of intense psychological anxiety, a space of moral degeneration and fall from grace. With its litany of personal symbols, interconnection of elements and energetic handling, thus The Prodigal Son and a waterfall, 1967 exemplifies superbly Boyd’s singular talent for capturing man, beast and nature caught up in the same expressive maelstrom of strange and malevolent energies. Like the most successful of his biblical narratives, the composition abandons logic to invoke a mythic, spiritual dimension and enigmatic resonance that far transcends pure representation.    1. Hoff, U., The Art of Arthur Boyd, Andre Deutsch, London, 1986, p. 83 2. Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, pp. 47 – 48   VERONICA ANGELATOS © Arthur Boyd/Copyright Agency 2025

    Deutscher and Hackett
  • ARTHUR BOYD, SHOALHAVEN RIVER LANDSCAPE, c.1980S
    May. 07, 2025

    ARTHUR BOYD, SHOALHAVEN RIVER LANDSCAPE, c.1980S

    Est: $120,000 - $160,000

    ARTHUR BOYD (1920 - 1999) SHOALHAVEN RIVER LANDSCAPE, c.1980s oil on canvas 121.5 x 91.0 cm signed lower right: Arthur Boyd PROVENANCE Andrew Ivanyi Galleries, Melbourne (as ‘Shoalhaven Riverbank with Black Swan’) Private collection Sotheby's, Sydney, 16 August 1999, lot 22 (as ‘Shoalhaven’) Private collection, Melbourne LITERATURE Art and Australia, Autumn 1992, vol. 29, no. 3, p. 277 (illus.) ESSAY ‘The natural beauty of the Shoalhaven area caused Boyd to marvel constantly. His paintings are a celebration of grandeur and wonder of Nature. It is to Boyd’s credit that a single landscape can inspire such diversity of work. He gives us the impression that there are infinite possibilities, as long as we train ourselves to see.’1 Eager to rediscover his roots, his ‘Australianism’, after more than a decade abroad, in 1971 Arthur Boyd returned to the country of his birth to take up a Creative Arts Fellowship at the Australian National University in Canberra. Over the blazing summer of 1971 – 72, Boyd and his wife Yvonne were invited by the Sydney art dealer Frank McDonald to visit Bundanon for the weekend, staying at a home he shared on the south coast of New South Wales with art historian Sandra McGrath and her husband Tony. Here the artist’s joyful rediscovery of the Australian bush with its stark contrasts and clarity of light was nothing short of an epiphany, and thus in 1974, Boyd purchased the nearby property Riversdale on the banks of the Shoalhaven River. Once again, the magic of the dour, untamed Australian landscape became the impetus for his art, and over the subsequent twenty-five years until his death in 1999, Boyd would dedicate himself almost exclusively to capturing the myriad moods of the Shoalhaven in images that are today imprinted upon the national psyche as some of our most beloved and iconic. Soul-piercing in its beauty, the Shoalhaven region offered both refreshing solace for the artist’s world-weary eyes, and endless potential as a subject – ‘the variation in the area with its great deep tones and high keys’ bearing strong affinities with music. As Boyd elaborated, ‘in the desert there is only one note, just one low singing note. In this landscape the tonal range – not tonal in the obvious sense of colour, but the actual fact of the horizon which can vary from very high to low, to infinite, depending on your line of vision – makes it a greater challenge. It has a knife-edged clarity. Impressionism could never have been born here, but Wagner could easily have composed here.’2 Wild and primordial, the region differed completely from the ordered English countryside to which he had grown accustomed and thus, a new vision was required to unlock its tangled mysteries. If previously Breughel and Rembrandt had offered inspiration, now Von Guérard, Piguenit and Buvelot became Boyd’s spiritual mentors. With its shimmering light, golden palette and signature format of the landscape divided into three horizontal bands of air, earth and water, Shoalhaven River Landscape offers a superb example of the early, ‘pure’ Shoalhaven landscapes which – devoid of the mythological creatures and symbolic narrative punctuating later versions – simply pay homage to the sheer beauty, grandeur and wonder of Nature. Capturing the beauty of the Shoalhaven in the blistering heat of the midday sun, indeed the work is a poignant reminder of how Boyd, comfortable once more with the eternal diversity of the Australian landscape, ultimately did tame his wilderness: ‘...what was unfamiliar became familiar, what was menacing became friendly, what was awesome became intimate.’3 1. McKenzie, J., Arthur Boyd at Bundanon, Academy Editions, London, 1994, p. 42 2. Arthur Boyd, cited in Pearce, B., Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 1993, pp. 26 – 27 3. McGrath, S., The Artist and the Shoalhaven, Bay Books, Sydney, 1982, p. 79 VERONICA ANGELATOS © Arthur Boyd/Copyright Agency 2025

    Deutscher and Hackett
  • ARTHUR BOYD, SLEEPING BRIDEGROOM WITH RED BOUQUET, 1961 – 62
    May. 07, 2025

    ARTHUR BOYD, SLEEPING BRIDEGROOM WITH RED BOUQUET, 1961 – 62

    Est: $350,000 - $450,000

    ARTHUR BOYD (1920 - 1999) SLEEPING BRIDEGROOM WITH RED BOUQUET, 1961 – 62 oil and tempera on composition board 111.0 x 118.5 cm signed lower left: Arthur Boyd PROVENANCE The Zwemmer Gallery, London (label attached verso, as ‘Bridegroom with a Bouquet’) Mr and Mrs John Altmann, Melbourne by 1967 Thence by descent Private collection, Victoria EXHIBITED Arthur Boyd’s Australia, National Gallery of Victoria, Melbourne, 2 April – 4 May 1970, cat. 58 (labels attached verso) LITERATURE Philipp, F., Arthur Boyd, Thames & Hudson, London, 1967, cat. 10.17, pl. 96 (illus.), pp. 130, 146 ESSAY The son and grandson of artists, Arthur Boyd grew up surrounded by art. The family home in Murrumbeena on the eastern outskirts of Melbourne provided an encouraging environment which, as his brother, David, recalled, was fuelled by their mother’s belief that ‘the creative effort or idea was the most important thing of all… that it was related to life, it was life.’1 The recipient of several awards for art at school, Boyd was recognised for his talent from his earliest years and his passion and commitment to the creative life, from the age of about fourteen, saw him ‘go off into the landscape painting on his own… he built himself a little cart which he hitched to a pushbike, and he used to pedal around the countryside.’2   The portraits and landscapes of the 1930s – depicting people and places that Boyd knew well – were superseded in the 1940s by images that responded to the experience and atmosphere of war in a very personal way. As Robert Hughes explained, ‘the war convulsed Boyd’s arcadian plein-airism into the violent expressionistic images… To be yanked from the womb into a wartime society, with its hysterias and naked passions, shattered Boyd’s dreams of innocence.’3 Another important influence on the development of Boyd’s work during these years was Yosl Bergner, a Polish refugee who had arrived in Melbourne in 1937. With firsthand knowledge of European modernism, Bergner introduced Boyd to the work of the German Expressionists and other international artists, but the most important aspect of his influence was as an artist whose work conveyed a strong social conscience and sense of personal morality.   Boyd had hoped that a solo exhibition in 1953 would generate enough sales to fund his travel to Europe. This did not eventuate however and instead, he went to Central Australia, travelling on The Ghan to Alice Springs and then driving enormous distances to Arltunga and across the Simpson Desert.4 ‘You got a sense of it being extremely vast and much more extraordinary than I’d ever believed… You could go on thousands of miles, on and on forever.’5 It was not the landscape that affected Boyd most profoundly on this trip, but his observations of the Aboriginal population whose treatment by white Australians he found deeply distressing. The groundbreaking series of paintings, Love, Marriage and Death of a Half-Caste (also known as the Brides) grew out of this experience and although we now recognise the problematic nature of the subject-matter and Boyd’s limited understanding of the issues, it stands as a powerful testament to the empathetic humanism that underpinned his art.6   The first exhibition of the Brides paintings took place at Australian Galleries, Melbourne in 1958 and the following year, with guaranteed financial support (a monthly stipend from Australian Galleries exchanged for pictures), Boyd and his family sailed for England. What was initially envisaged as a stay of several months turned into years as Boyd’s international reputation and success grew. A solo exhibition at London’s Zwemmer Gallery in 1960 was followed by a major retrospective at the Whitechapel Gallery in 1962 where, of the 175 works included in the show, 70 of the largest had been made since the artist’s arrival in London just a few years earlier. Inspired by his surroundings and buoyed by the interest in his art, Boyd was energised and producing some of the boldest and most confident painting of his career. Critics responded enthusiastically to the Antipodean flavour of his imagery but also recognised its allegiance to the traditions of European art. Indeed, it was Boyd’s access to the work of the masters that he had previously only known through reproduction (Titian, Tintoretto, Goya and Rembrandt among many others) that helped fuel this period of intense creativity. In addition to Boyd’s habit of borrowing elements from Old Master paintings he saw, Ursula Hoff identified the increased eclecticism of his approach during these years as well as a more sophisticated handling of paint.7   We see this in Sleeping bridegroom with red bouquet, 1961 – 62 where the brushstrokes, deft and assured, also reveal a distinct lightness of touch. The translucency of tempera (traditionally made by combining pigment with egg yolk and here, used in combination with oil paint) allows us to see the way colour is progressively built up to define form and construct the landscape. Lying in a shallow gully surrounded by dense vegetation, the figure is dreaming and still while all around him is movement, as trees and grasses sway and swirl in the wind and birds swoop through the air. His red jacket with its gleaming gold buttons distinguishes the bridegroom from the natural surroundings, but half submerged in a dark pond, he is depicted ‘sinking back into the cycle of nature.’8 Boyd’s signature iconography is here, from the red-eyed ramox, a personal symbol of lust, fear and guilt, to the ‘dream-posy’ which sprouts joyously, if rather incongruously, from the bridegroom’s ear.9   The 1960s was Boyd’s ‘decade of triumph’, the period in which he established a reputation – both internationally and in his country of birth – as an artist whose skill and creative drive matched the brilliance and originality of his imagination. Sleeping bridegroom with red bouquet reflects the dynamism of this moment, looking back to one of the landmark series of Boyd’s oeuvre and signalling the brilliant and singular career that was to come.   1. David Boyd cited in Pearce, B., Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 1993, p. 11 2. ibid. 3. Hughes, R., ‘Nolan and Boyd’, Nation, 4 April 1964, cited in Pearce, op. cit., p. 14 4. See Morgan, K., Arthur Boyd Brides, Heide Museum of Modern Art, Melbourne, 2014, p. 11 and Pearce, ibid., p. 20 5. Boyd cited in Pearce, ibid., p. 20 6. For a discussion of the Brides series from a twenty-first century perspective, see essays by Kendrah Morgan and Marcia Langton in Morgan, K., Arthur Boyd Brides, Heide Museum of Modern Art, Melbourne, 2014 7. Hoff, U., The Art of Arthur Boyd, Andre Deutsch, London, 1986, pp. 22 – 23 8. Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 261, cat. 10.17 9. See Morgan, op. cit., p. 16 and Philipp, ibid.   KIRSTY GRANT © Arthur Boyd/Copyright Agency 2025

    Deutscher and Hackett
  • Arthur Boyd: Three Volumes
    May. 04, 2025

    Arthur Boyd: Three Volumes

    Est: $300 - $500

    Arthur Boyd: Three Volumes, Pearce, Barry. Arthur Boyd Retrospective, published by the Art Gallery of NSW (1993), paperback, signed by artist, includes Bundanon catalogue Sanders, Tom. Spare The Face, Gentlemen, Please, Illustrated by Arthur Boyd, published by Phoebe Publishing (1993), Ltd ed. 102/1000 with signature of author and artist, hard cover, dust jacket Hart, Deborah. Arthur Boyd: Agony & Ecstasy, published by the National Gallery of Australia (2014), paperback, dedication from author

    Theodore Bruce Auctioneers & Valuers
  • Arthur Boyd
    May. 01, 2025

    Arthur Boyd

    Est: $20 - $30

    Arthur Boyd

    Lawsons
  • ARTHUR BOYD (1920-1999) Tomorrow's Ghosts 1971 complete suite of etchings and poems by Peter Stark (12), ed. 11/100 all contained wi..
    May. 01, 2025

    ARTHUR BOYD (1920-1999) Tomorrow's Ghosts 1971 complete suite of etchings and poems by Peter Stark (12), ed. 11/100 all contained wi..

    Est: $2,000 - $3,000

    ARTHUR BOYD (1920-1999) Tomorrow's Ghosts 1971 complete suite of etchings and poems by Peter Stark (12), ed. 11/100 all contained within the original portfolio book signed, dated and editioned on justification page: Peter Stark 1971/ 11/100/ Arthur Boyd 1971 57 x 38cm (sheet, each); 57 x 39 x 1.5cm (portfolio book) OTHER NOTES: Another example of this print is held in the collection of the Art Gallery of New South Wales, Sydney © Arthur Boyd/Copyright Agency 2025

    Leonard Joel
  • ARTHUR BOYD, UNTITLED,
    May. 01, 2025

    ARTHUR BOYD, UNTITLED,

    Est: $300 - $500

    ARTHUR BOYD, UNTITLED, ETCHING ED. 2/15, SIGNED AND EDITIONED BELOW IMAGE, 49.5 X 40CM, FRAME: 73 X 62CM

    Leonard Joel
  • Arthur Boyd, Australian 1920-1999, Home from the Front, ink on paper, 45.5 x 35.5 cm. (17.9 x 13.9 in.), Frame: 68 x 57 cm. (26.7 x 22.4 in.)
    Apr. 30, 2025

    Arthur Boyd, Australian 1920-1999, Home from the Front, ink on paper, 45.5 x 35.5 cm. (17.9 x 13.9 in.), Frame: 68 x 57 cm. (26.7 x 22.4 in.)

    Est: $2,000 - $3,000

    Arthur Boyd Australian, 1920-1999 Home from the Front ink on paper signed lower left Arthur Boyd, inscribed lower right Home from the front, 45.5 x 35.5 cm, Provenance: Savill Galleries, Sydney, 1993. Private collection, Sydney. Exhibited: Arthur Boyd Drawings, Savill Galleries, Sydney, 8 - 22 December 1993, no.23. Reference: Sanders, T., Spare the Face, Gentlemen, Please, Phoebe Publishing, Melbourne, 1993 (illus. p.98).

    For-Auction
  • Arthur Boyd, Australian 1920-1999, The hunter and the witness, earthenware painted and glazed tile, 32 x 41.5 cm. (12.6 x 16.3 in.), Frame: 40 x 49.6 cm. (15 3/4 x 19.5 in.)
    Apr. 30, 2025

    Arthur Boyd, Australian 1920-1999, The hunter and the witness, earthenware painted and glazed tile, 32 x 41.5 cm. (12.6 x 16.3 in.), Frame: 40 x 49.6 cm. (15 3/4 x 19.5 in.)

    Est: $5,000 - $8,000

    Arthur Boyd Australian, 1920-1999 The hunter and the witness earthenware painted and glazed tile painted tile by Arthur Boyd, circa 1953 ref: (related work) The Hunter ( 32 x 42.4cm) Arthur Boyd: Tile Paintings, Johnstone Gallery, Brisbane, 9-19 June 1953, no. 21 Paintings by Arthur Boyd, Peter Bray Gallery, Melbourne, 15-24 September 1953, Provenance: The Estate of Eva and Aubrey Sweet

    For-Auction
  • Arthur Boyd, Australian 1920-1999, figure rhythm, mixed media on paper, 49.4 x 62 cm. (19.4 x 24.4 in.), Frame: 61 x 74 cm. (24.0 x 29.1 in.)
    Apr. 30, 2025

    Arthur Boyd, Australian 1920-1999, figure rhythm, mixed media on paper, 49.4 x 62 cm. (19.4 x 24.4 in.), Frame: 61 x 74 cm. (24.0 x 29.1 in.)

    Est: $5,000 - $8,000

    Arthur Boyd Australian, 1920-1999 figure rhythm mixed media on paper signed lower right, Arthur Boyd Provenance: The Estate of Eva and Aubrey Sweet

    For-Auction
  • ARTHUR BOYD, Australian (1920-1999), Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    Apr. 23, 2025

    ARTHUR BOYD, Australian (1920-1999), Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australian, (1920-1999) Bundanon Quartet II lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • ARTHUR BOYD, Australian (1920 - 1999), Loss, etching, ed. 26/45, 49.5 x 33 cm. (19.4 x 12.9 in.), frame: 80 x 58 x 4 cm. (31 1/2 x 22.8 x 1.5 in.)
    Apr. 23, 2025

    ARTHUR BOYD, Australian (1920 - 1999), Loss, etching, ed. 26/45, 49.5 x 33 cm. (19.4 x 12.9 in.), frame: 80 x 58 x 4 cm. (31 1/2 x 22.8 x 1.5 in.)

    Est: $500 - $700

    † ARTHUR BOYD Australian, (1920 - 1999) Loss etching, ed. 26/45 signed lower right

    Lawsons
  • ARTHUR BOYD, Australian (1920-1999), Shoalhaven, lithograph ed. 98/127 (unframed), 55 x 68 cm. (21.6 x 26.7 in.)
    Apr. 23, 2025

    ARTHUR BOYD, Australian (1920-1999), Shoalhaven, lithograph ed. 98/127 (unframed), 55 x 68 cm. (21.6 x 26.7 in.)

    Est: $1,000 - $1,500

    ARTHUR BOYD Australian, (1920-1999) Shoalhaven lithograph ed. 98/127 (unframed) signed lower right

    Lawsons
  • ARTHUR BOYD, Australian (1920 - 1999), Jonah Spewed on the Beach, c1972, ink and watercolour on paper, 18.5 x 28 cm. (7.2 x 11.0 in.), frame: 49 x 57 x 3 cm. (19.2 x 22.4 x 1.1 in.)
    Apr. 17, 2025

    ARTHUR BOYD, Australian (1920 - 1999), Jonah Spewed on the Beach, c1972, ink and watercolour on paper, 18.5 x 28 cm. (7.2 x 11.0 in.), frame: 49 x 57 x 3 cm. (19.2 x 22.4 x 1.1 in.)

    Est: $1,000 - $2,000

    ARTHUR BOYD Australian, (1920 - 1999) Jonah Spewed on the Beach, c1972 ink and watercolour on paper titled and signed below: J. spewed on beach/Arthur Boyd

    Lawsons
  • ARTHUR BOYD, (1920 - 1999), The Boat (from the Prodigal Son Suite, 1996), etching, ed. 31/45, 66 x 50 cm. (25.9 x 19.6 in.), frame: 120 x 86 cm. (47.2 x 33.8 in.)
    Apr. 14, 2025

    ARTHUR BOYD, (1920 - 1999), The Boat (from the Prodigal Son Suite, 1996), etching, ed. 31/45, 66 x 50 cm. (25.9 x 19.6 in.), frame: 120 x 86 cm. (47.2 x 33.8 in.)

    Est: $1,500 - $2,500

    † ARTHUR BOYD (1920 - 1999) The Boat (from the Prodigal Son Suite, 1996) etching, ed. 31/45 signed lower right

    Lawsons
  • ARTHUR BOYD, (1920 - 1999), Loss, etching, ed. 26/45, 49.5 x 33 cm. (19.4 x 12.9 in.), frame: 80 x 58 x 4 cm. (31 1/2 x 22.8 x 1.5 in.)
    Apr. 10, 2025

    ARTHUR BOYD, (1920 - 1999), Loss, etching, ed. 26/45, 49.5 x 33 cm. (19.4 x 12.9 in.), frame: 80 x 58 x 4 cm. (31 1/2 x 22.8 x 1.5 in.)

    Est: $500 - $700

    † ARTHUR BOYD (1920 - 1999) Loss etching, ed. 26/45 signed lower right

    Lawsons
  • ARTHUR BOYD, (1920-1999), Shoalhaven, lithograph ed.37/127, 55 x 68 cm. (21.6 x 26.7 in.)
    Apr. 10, 2025

    ARTHUR BOYD, (1920-1999), Shoalhaven, lithograph ed.37/127, 55 x 68 cm. (21.6 x 26.7 in.)

    Est: $1,000 - $1,500

    ARTHUR BOYD (1920-1999) Shoalhaven lithograph ed.37/127 signed lower right

    Lawsons
  • ARTHUR BOYD (1920 - 1999) - Artist in a Cave and Shoes and Model's Leg, 1973 decorative print after original 56 x 54 cm (frame: 96 x...
    Apr. 09, 2025

    ARTHUR BOYD (1920 - 1999) - Artist in a Cave and Shoes and Model's Leg, 1973 decorative print after original 56 x 54 cm (frame: 96 x...

    Est: $200 - $300

    ARTHUR BOYD Australian, (1920 - 1999) Artist in a Cave and Shoes and Model's Leg, 1973 decorative print after original gallery frame

    Lawsons
  • ARTHUR BOYD, (1920 - 1999), Earth and Fire, 1989, photolithograph, ed. 91/150, 66.5 x 100 cm. (26.1 x 39.3 in.), frame: 95 x 128 x 3 cm. (37.4 x 50.3 x 1.1 in.)
    Apr. 09, 2025

    ARTHUR BOYD, (1920 - 1999), Earth and Fire, 1989, photolithograph, ed. 91/150, 66.5 x 100 cm. (26.1 x 39.3 in.), frame: 95 x 128 x 3 cm. (37.4 x 50.3 x 1.1 in.)

    Est: $500 - $700

    ARTHUR BOYD (1920 - 1999) Earth and Fire, 1989 photolithograph, ed. 91/150 signed lower right

    Lawsons
  • ARTHUR BOYD, Australian (1920-1999), Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    Apr. 09, 2025

    ARTHUR BOYD, Australian (1920-1999), Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Australian, (1920-1999) Bundanon Quartet II lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • Arthur Boyd AC OBE, Pushkin's Fairy Tales;
    Apr. 09, 2025

    Arthur Boyd AC OBE, Pushkin's Fairy Tales;

    Est: £600 - £800

    Arthur Boyd AC OBE, Australian 1920-1999, Pushkin's Fairy Tales; 20 monochrome lithographic prints on wove, unsigned, each sheet: 80 x 61 cm, (unframed) (ARR) This is the only known complete set of Arthur Boyd’s Pushkin Fairy Tales lithographs. These are the original lithographs that were photographed for the book, Pushkin’s Fairy Tales, with the signatures omitted at the request of the publisher. They were gifted to Charles Osborne by Boyd following the London sessions.  Note: these lithographs also come with the first edition of the book, Pushkin Fairy Tales. Provenance: Private UK Collection | Charles Osborne, the Australian novelist and critic.

    Roseberys
  • Arthur Boyd AC OBE, Juiker on Sandbank, 1978;
    Apr. 09, 2025

    Arthur Boyd AC OBE, Juiker on Sandbank, 1978;

    Est: £300 - £500

    Arthur Boyd AC OBE, Australian 1920-1999, Juiker on Sandbank, 1978; lithograph in colours on wove, signed in pencil and inscribed 'HC' and 'AP', sheet: 56.8 x 77.5 cm, (unframed) (ARR) Note: this is the Hors d'Commerce Proof and Artists Proof of the lithograph found in the Tate London's collection.  Provenance: Private UK Collection | Charles Osborne, the Australian novelist and critic.

    Roseberys
  • ARTHUR BOYD (1920-1999), Shoalhaven Reflections c1984
    Apr. 09, 2025

    ARTHUR BOYD (1920-1999), Shoalhaven Reflections c1984

    Est: $25,000 - $35,000

    PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE ARTHUR BOYD (1920-1999) Shoalhaven Reflections c1984 oil on board 30.0 x 22.0 cm; 65.5 x 58.0 cm (framed) signed lower right: Arthur Boyd

    Menzies
  • ARTHUR BOYD (1920-1999), Narcissus with Three Clouds
    Apr. 09, 2025

    ARTHUR BOYD (1920-1999), Narcissus with Three Clouds

    Est: $60,000 - $80,000

    PROPERTY FROM A PRIVATE COLLECTION, NEW SOUTH WALES ARTHUR BOYD (1920-1999) Narcissus with Three Clouds oil on canvas 107.0 x 92.0 cm; 114.0 x 99.0 cm (framed) signed lower right: Arthur Boyd bears inscription verso: Studio Assistant/ RAMSHOLT/ Hugh Webster

    Menzies
  • ARTHUR BOYD (1920-1999), Jinker on the Sandbank, Shoalhaven 1986
    Apr. 09, 2025

    ARTHUR BOYD (1920-1999), Jinker on the Sandbank, Shoalhaven 1986

    Est: $120,000 - $180,000

    PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE ARTHUR BOYD (1920-1999) Jinker on the Sandbank, Shoalhaven 1986 oil on canvas 121.5 x 151.5 cm; 136.0 x 166.0 cm (framed) signed lower right: Arthur Boyd

    Menzies
  • ARTHUR BOYD (1920-1999), Flame Trees, Horse's Skull, Black River 1983
    Apr. 09, 2025

    ARTHUR BOYD (1920-1999), Flame Trees, Horse's Skull, Black River 1983

    Est: $200,000 - $300,000

    PROPERTY FROM A PRIVATE COLLECTION, NEW SOUTH WALES ARTHUR BOYD (1920-1999) Flame Trees, Horse's Skull, Black River 1983 oil on linen 200.0 x 245.5 cm; 203.5 x 248.5 cm (framed) signed lower right: Arthur Boyd

    Menzies
  • ARTHUR BOYD 1920-1999 The Loading Ramp (1957-1958) oil on canvas on composition board 68.3 x 88.6 cm
    Apr. 08, 2025

    ARTHUR BOYD 1920-1999 The Loading Ramp (1957-1958) oil on canvas on composition board 68.3 x 88.6 cm

    Est: $150,000 - $250,000

    ARTHUR BOYD 1920-1999 The Loading Ramp (1957-1958) oil on canvas on composition board signed ‘Arthur Boyd' lower right 68.3 x 88.6 cm PROVENANCE Arthur Boyd, Melbourne Australian Galleries, Melbourne Dr Norman Wettenhall, Melbourne, acquired from the above on 14 April 1959 Private Collection, New South Wales, by descent from the above EXHIBITED Australia: Paintings by Arthur Streeton / Arthur Boyd, The XXIX Biennale, Venice, 1958, no. 7 (label verso) Arthur Boyd, Australian Galleries, Melbourne, 14 April – 23 May 1959, no. 11, 165 gns LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat. no. 8:24, p. 255 Kerry Gardner, Australia at the Venice Biennale: A Century of Contemporary Art, The Miegunyah Press, Melbourne, 2021, p. 224 (illustrated)

    Smith & Singer
  • ARTHUR BOYD 1920-1999 Bridegroom and Bride (1957-1958) earthenware 43.1 x 43.1 cm
    Apr. 08, 2025

    ARTHUR BOYD 1920-1999 Bridegroom and Bride (1957-1958) earthenware 43.1 x 43.1 cm

    Est: $80,000 - $120,000

    ARTHUR BOYD 1920-1999 Bridegroom and Bride (1957-1958) earthenware signed ‘Arthur Boyd' lower right 43.1 x 43.1 cm PROVENANCE Arthur Boyd, Melbourne John Murphy and Joy Murphy, Melbourne, acquired from the above Private Collection, Melbourne, by descent from the above Important Australian Art, Smith & Singer (trading as Sotheby's Australia), Sydney, 20 November 2018, lot 21, illustrated Private Collection, acquired from the above Private Collection, Melbourne, acquired from the above EXHIBITED Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 15 December 1993 – 6 March 1994; National Gallery of Victoria, Melbourne, 20 March – 23 May 1994; Tasmanian Museum and Art Gallery, Hobart, 9 June – 21 August 1994; Art Gallery of Western Australia, Perth, 22 September – 20 November 1994, no. 207 LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat. no. 6:95, p. 278 Barry Pearce, Arthur Boyd Retrospective, The Beagle Press and Art Gallery of New South Wales, Sydney, 1993, p. 159 Geoffrey Smith, ‘Catalogue Raisonné: Arthur Boyd's Central Australia Landscapes 1953-1960 and Bride Series 1954-1960', in Kendrah Morgan, Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 2014, cat. no. 27, p. 64

    Smith & Singer
  • ARTHUR BOYD 1920-1999 Narre Warren, Victoria (1952) oil, tempera and resin on composition board 77.5 x 102.8 cm
    Apr. 08, 2025

    ARTHUR BOYD 1920-1999 Narre Warren, Victoria (1952) oil, tempera and resin on composition board 77.5 x 102.8 cm

    Est: $200,000 - $300,000

    ARTHUR BOYD 1920-1999 Narre Warren, Victoria (1952) oil, tempera and resin on composition board signed ‘Arthur Boyd' lower right 77.5 x 102.8 cm PROVENANCE Arthur Boyd, Melbourne Macquarie Galleries, Sydney Richard Crebbin, Sydney, acquired from the above in 1952 for £47.5.0 Private Collection, Melbourne, acquired from the above on 26 July 1985 EXHIBITED Spring Exhibition, Society of Artists, Department of Education Art Gallery, Sydney, 29 August – 15 September 1952, no. 14, 45 gns Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 15 December 1993 – 6 March 1994; National Gallery of Victoria, Melbourne, 20 March – 23 May 1994; Tasmanian Museum and Art Gallery, Hobart, 9 June – 21 August 1994; Art Gallery of Western Australia, Perth, 22 September – 20 November 1994, no. 67, ‘Narrewarren Landscape', illustrated On long-term loan to Bendigo Art Gallery, Bendigo, December 2005 – February 2025 LITERATURE 'Society of Artists' Exhibition, The Sydney Morning Herald, Sydney, 29 August 1952, p.2 Barry Pearce, Arthur Boyd Retrospective, The Beagle Press and Art Gallery of New South Wales, Sydney, 1993, p. 84 (illustrated), ‘Narrewarren Landscape c. 1951'

    Smith & Singer
  • ARTHUR BOYD 1920-1999 Bride in Hibiscus Bush (1958) oil and tempera on composition board 91.2 x 122.2 cm
    Apr. 08, 2025

    ARTHUR BOYD 1920-1999 Bride in Hibiscus Bush (1958) oil and tempera on composition board 91.2 x 122.2 cm

    Est: $1,000,000 - $1,500,000

    ARTHUR BOYD 1920-1999 Bride in Hibiscus Bush (1958) oil and tempera on composition board signed ‘Arthur Boyd' lower right 91.2 x 122.2 cm PROVENANCE Arthur Boyd, Melbourne Mrs G. Reid, London, by 1967 Mrs Beryl Reid, London Thirty Victoria Street, Sydney (label verso) Private Collection, Melbourne, acquired from the above on 26 July 1985 EXHIBITED The Helena Rubinstein Travelling Art Scholarship, Art Gallery of New South Wales, Sydney, 5-17 August 1958, no. 4 Arthur Boyd: The Bride, Heide Park and Art Gallery, Melbourne, 8 November – 14 December 1986, no. 11, ‘Bridegroom Waiting for his Bride to Grow Up, 137.2 x 183.0 cm' On long-term loan to Bendigo Art Gallery, Bendigo, December 2005 – February 2025 LITERATURE Franz Philipp, Arthur Boyd, Thames and Hudson, London, 1967, cat. no. 9:27, ‘Bride in a Hibiscus Bush', p. 260, cat. no. 10:76, ‘Bridegroom Waiting for his Bride to Grow Up', p. 265 Geoffrey Smith, ‘Catalogue Raisonné: Arthur Boyd's Central Australia Landscapes 1953-1960 and Bride Series 1954-1960', in Kendrah Morgan, Arthur Boyd: Brides, Heide Museum of Modern Art, Melbourne, 2014, cat. no. 38, p. 67

    Smith & Singer
  • ARTHUR BOYD 1920-1999 The Silo (1948-1949) oil on canvas on composition board 60 x 75.5 cm
    Apr. 08, 2025

    ARTHUR BOYD 1920-1999 The Silo (1948-1949) oil on canvas on composition board 60 x 75.5 cm

    Est: $50,000 - $70,000

    ARTHUR BOYD 1920-1999 The Silo (1948-1949) oil on canvas on composition board signed ‘Arthur Boyd' lower right 60 x 75.5 cm PROVENANCE Arthur Boyd, Melbourne Private Collection, Sydney

    Smith & Singer
  • ARTHUR BOYD 1920-1999 Flame Trees and Cockatoos oil on board 37 x 30.3 cm
    Apr. 08, 2025

    ARTHUR BOYD 1920-1999 Flame Trees and Cockatoos oil on board 37 x 30.3 cm

    Est: $30,000 - $40,000

    ARTHUR BOYD 1920-1999 Flame Trees and Cockatoos oil on board signed 'Arthur Boyd' lower right 37 x 30.3 cm PROVENANCE Arthur Boyd, New South Wales Art Galleries Schubert, Queensland (label verso) Private Collection, Sydney, acquired from the above on 11 June 1994 Important Australian Art, Smith & Singer (trading as Sotheby's Australia), Sydney, 24 November 2015, lot 59, illustrated David Aspinall, Perth, Melbourne, acquired from the above The Estate of the Late David Aspinall, Perth

    Smith & Singer
  • ARTHUR BOYD, (1920 - 1999), Mornington Peninsula circa 1940, watercolour on paperFramed, 17 x 26 cm (frame: 34 x 41 cm)
    Apr. 02, 2025

    ARTHUR BOYD, (1920 - 1999), Mornington Peninsula circa 1940, watercolour on paperFramed, 17 x 26 cm (frame: 34 x 41 cm)

    Est: $1,800 - $2,200

    ARTHUR BOYD (1920 - 1999) Mornington Peninsula circa 1940 watercolour on paperFramed signed lower left: Arthur Boyd

    Lawsons
  • ARTHUR BOYD, Bundanon Quartet I, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    Mar. 31, 2025

    ARTHUR BOYD, Bundanon Quartet I, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Bundanon Quartet I lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • ARTHUR BOYD, Bundanon Quartet IV, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    Mar. 31, 2025

    ARTHUR BOYD, Bundanon Quartet IV, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Bundanon Quartet IV lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • ARTHUR BOYD, Bundanon Quartet III, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    Mar. 31, 2025

    ARTHUR BOYD, Bundanon Quartet III, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Bundanon Quartet III lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • ARTHUR BOYD, Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)
    Mar. 31, 2025

    ARTHUR BOYD, Bundanon Quartet II, lithograph, ed. 70/137, 49 x 69 cm. (19.2 x 27.1 in.), frame: 79 x 99 x 2 cm. (31.1 x 38.9 x 0.7 in.)

    Est: $800 - $1,200

    ARTHUR BOYD Bundanon Quartet II lithograph, ed. 70/137 signed lower right to margin; titled and dated lower centre to margin

    Lawsons
  • ARTHUR BOYD (1920-1999), Tosca 1989, lithograph, 25/100, signed lower right "Arthur Boyd", 44 x 63cm, 70 x 88cm overall
    Mar. 30, 2025

    ARTHUR BOYD (1920-1999), Tosca 1989, lithograph, 25/100, signed lower right "Arthur Boyd", 44 x 63cm, 70 x 88cm overall

    Est: $200 - $300

    ARTHUR BOYD (1920-1999), Tosca 1989, lithograph, 25/100, signed lower right "Arthur Boyd", 44 x 63cm, 70 x 88cm overall © Arthur Boyd/Copyright Agency, 2024

    Leski Auctions Pty Ltd
  • ARTHUR BOYD, (1920 - 1999), Earth and Fire, 1989, photolithograph, ed. 91/150, 66.5 x 100 cm. (26.1 x 39.3 in.), frame: 95 x 128 x 3 cm. (37.4 x 50.3 x 1.1 in.)
    Mar. 26, 2025

    ARTHUR BOYD, (1920 - 1999), Earth and Fire, 1989, photolithograph, ed. 91/150, 66.5 x 100 cm. (26.1 x 39.3 in.), frame: 95 x 128 x 3 cm. (37.4 x 50.3 x 1.1 in.)

    Est: $600 - $800

    ARTHUR BOYD (1920 - 1999) Earth and Fire, 1989 photolithograph, ed. 91/150 signed lower right

    Lawsons
  • ARTHUR BOYD, (1920-1999), Shoalhaven, lithograph ed. 98/127, 55 x 68 cm. (21.6 x 26.7 in.)
    Mar. 26, 2025

    ARTHUR BOYD, (1920-1999), Shoalhaven, lithograph ed. 98/127, 55 x 68 cm. (21.6 x 26.7 in.)

    Est: $1,000 - $1,500

    ARTHUR BOYD (1920-1999) Shoalhaven lithograph ed. 98/127 signed lower right

    Lawsons
  • ARTHUR BOYD, (1920 - 1999), Untitled (Nude in Bush Landscape), sugar lift etching, ed. 8/40, 29.5 x 22 cm. (11.6 x 8.6 in.), frame: 56 x 47 x 3 cm. (22.0 x 18 1/2 x 1.1 in.)
    Mar. 26, 2025

    ARTHUR BOYD, (1920 - 1999), Untitled (Nude in Bush Landscape), sugar lift etching, ed. 8/40, 29.5 x 22 cm. (11.6 x 8.6 in.), frame: 56 x 47 x 3 cm. (22.0 x 18 1/2 x 1.1 in.)

    Est: $250 - $350

    ARTHUR BOYD (1920 - 1999) Untitled (Nude in Bush Landscape) sugar lift etching, ed. 8/40 signed to margin lower

    Lawsons
  • ARTHUR BOYD, (1920 - 1999), Loss, etching, ed. 26/45, 49.5 x 33 cm. (19.4 x 12.9 in.), frame: 80 x 58 x 4 cm. (31 1/2 x 22.8 x 1.5 in.)
    Mar. 19, 2025

    ARTHUR BOYD, (1920 - 1999), Loss, etching, ed. 26/45, 49.5 x 33 cm. (19.4 x 12.9 in.), frame: 80 x 58 x 4 cm. (31 1/2 x 22.8 x 1.5 in.)

    Est: $500 - $700

    † ARTHUR BOYD (1920 - 1999) Loss etching, ed. 26/45 signed lower right

    Lawsons
  • ARTHUR BOYD (1920-1999) Bride in Valley c.1970s oil on copper 23 x 29cm
    Mar. 18, 2025

    ARTHUR BOYD (1920-1999) Bride in Valley c.1970s oil on copper 23 x 29cm

    Est: $30,000 - $50,000

    ARTHUR BOYD (1920-1999) Bride in Valley c.1970s oil on copper signed lower right: Arthur Boyd 23 x 29cm PROVENANCE: Private collection, London Private collection, Melbourne OTHER NOTES: Arthur Boyd's 'Bride in the Valley' (c.1970s) is a strikingly emotive work that exemplifies his ability to intertwine landscape, narrative, and psychological depth. A key piece within his renowned Bride series, this painting continues Boyd's exploration of love, alienation, and cultural dislocation, set against the vast, untamed Australian landscape. His deep engagement with the natural world was a defining aspect of his practice, and his innovative use of copper as a painting surface allowed him to capture the landscape with extraordinary precision and luminosity. The technique heightened the interplay between form, texture, and light, creating an intensified sense of atmosphere and emotional resonance. In 'Bride in the Valley', Boyd positions the bride's collapsed figure within an expansive landscape, her voluminous white veil fanning out as though merging with the terrain itself. The stark contrast between her fragile, pale form and the dynamic, ochre-hued bushland intensifies the painting's sense of unease. The bride, a recurring symbol in Boyd's work, appears simultaneously ethereal and vulnerable, caught between beauty and tragedy. Her limp posture suggests exhaustion or despair, yet she remains a hauntingly dominant presence within the composition. The decision to paint on copper was an unconventional approach in the 1970s, standing in stark contrast to the heavy impasto of Boyd's earlier Nebuchadnezzar series. The intricate nature of these works demanded immense control, with each piece taking weeks to complete. Boyd described the process as highly technical, involving the thorough cleaning, buffing, and washing of the copper surface before applying a smooth oil base. He then worked with oil paint, mixed with sand oil, a treated linseed oil that prevented movement in the paint and allowed for fine detail. Despite their intimate scale, these works captured the grandeur and diversity of the Shoalhaven landscape with remarkable clarity. The luminous quality of paint on metal created a striking visual effect, enhancing the sharpness of form and the vibrancy of colour. The interplay of light and detail resulted in a heightened sense of realism, reflecting Boyd's deep engagement with the landscape's complexities. 'Bride in the Valley' is a powerful meditation on vulnerability and belonging, capturing Boyd's deep engagement with themes of love, identity, and the Australian landscape. His copper paintings stand as a testament to his relentless pursuit of technical refinement and emotional depth. This work remains one of the most evocative iterations of the Bride series, embodying Boyd's ability to weave personal and national narratives into a single, arresting image. Hannah Ryan Senior Art Specialist © Arthur Boyd/Copyright Agency, 2025

    Leonard Joel
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