Cressida Campbell Paintings & Artwork for Sale | Cressida Campbell Art Value Price Guide

Dec. 11, 2024
CRESSIDA CAMPBELL, (1960 -), White Waratah, decorative print after original, 33 x 37 cm. (12.9 x 14.5 in.), frame: 41 x 45 x 4 cm. (16.1 x 17.7 x 1.5 in.)
Est: $250 - $350
CRESSIDA CAMPBELL (1960 - ) White Waratah decorative print after original gallery frame
Lawsons
Nov. 27, 2024
CRESSIDA CAMPBELL, (1960 -), White Waratah, decorative print after original, 33 x 37 cm. (12.9 x 14.5 in.), frame: 41 x 45 x 4 cm. (16.1 x 17.7 x 1.5 in.)
Est: $250 - $350
CRESSIDA CAMPBELL (1960 - ) White Waratah decorative print after original gallery frame
Lawsons
Nov. 27, 2024
CRESSIDA CAMPBELL born 1960 Bamboo with Cliveas (2018) unique woodblock print on paper 64 x 83.5 cm frame: original, Andrew Bassett, Sy
Est: $160,000 - $220,000
CRESSIDA CAMPBELL born 1960 Bamboo with Cliveas (2018) unique woodblock print on paper signed ‘Cressida Campbell' lower right 64 x 83.5 cm frame: original, Andrew Bassett, Sydney (label verso) PROVENANCE Cressida Campbell, Sydney Simon Lee Gallery, London Private Collection, Sydney, acquired from the above on 1 May 2019 EXHIBITED Cressida Campbell and Tim Storrier: Difficult Pleasures, Contemporary Fine Arts, Berlin, 14 January – 4 March 2017 (label verso)
Smith & Singer
Nov. 27, 2024
CRESSIDA CAMPBELL born 1960 Newcastle (1988) unique woodblock print on paper 52 x 185 cm frame: Graphic Art Mount, Sydney (label verso)
Est: $200,000 - $300,000
CRESSIDA CAMPBELL born 1960 Newcastle (1988) unique woodblock print on paper signed ‘Cressida Campbell' lower right 52 x 185 cm frame: Graphic Art Mount, Sydney (label verso) PROVENANCE Cressida Campbell, Sydney Macquarie Galleries, Sydney Freehill Hollingdale & Page, Sydney, acquired from the above Private Collection, Brisbane, acquired from the above EXHIBITED Woodcut: In Homage to Munakata Shikö, Macquarie Galleries, Sydney, 29 November – 23 December 1988 Cressida Campbell, National Gallery of Australia, Canberra, 24 September 2022 – 19 February 2023, illustrated LITERATURE Peter Crayford (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. no. P8720, p. 342 Sarina Noordhuis-Fairfax (ed.), Cressida Campbell, National Gallery of Australia, Canberra, 2022, pp. 154-155 (illustrated), 209 (illustrated), 233 (illustrated)
Smith & Singer
Nov. 20, 2024
CRESSIDA CAMPBELL born 1960, The Verandah 1987
Est: $9,000 - $12,000
PROPERTY FROM A PRIVATE COLLECTION, SYDNEY CRESSIDA CAMPBELL born 1960 The Verandah 1987 colour screenprint 94.5 x 58.5 cm (image); 110.0 x 75.5 cm (sheet); 124.0 x 86.0 cm (framed) edition: 2/99 signed and dated lower right: Cressida Campbell '87 numbered lower left: 2/99 titled lower centre: THE VERANDAH
Menzies
Sep. 10, 2024
Cressida Campbell (born 1960) Bedroom Nocturne, 2022 81.0cm diameter (tondo)
Est: $6,000 - $9,000
Cressida Campbell (born 1960) Bedroom Nocturne, 2022 signed and numbered lower right: 'Cressida Campbell 18/75' pigment print on paper 81.0cm diameter (tondo)
Bonhams
Aug. 28, 2024
CRESSIDA CAMPBELL, LILIES AND PARROT SHAWL, 2006
Est: $80,000 - $120,000
CRESSIDA CAMPBELL born 1960 LILIES AND PARROT SHAWL, 2006 unique colour woodblock print 119.5 x 25.0 cm (image) 130.5 x 45.5 cm (sheet) signed lower right: Cressida Campbell signed below image lower left: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 2007 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 9 October - 3 November 2007, cat. 30 ESSAY Within this long and narrow scroll-like composition, Cressida Campbell’s unopened lilies vie for attention against shimming, multicoloured parrots frozen in the silk threads of the background drapery. A tightly cropped asymmetric sliver of a still life arrangement, printed in sumptuous pigments in a unique impression, Lilies and Parrot Shawl, 2006 becomes an artistic exercise in competing patterns and modes of pictorial representation. The artist winks at the mythological origins of painting, in which the ancient Greek Zeuxis tricks birds with his realistic depiction of a bunch of grapes. Here, Campbell’s parrots are the ones who have been artistically stylised, embroidered into richly coloured silk, carved and then painted, while the recurring white lilies of her still lives, although appearing in realistic detail in comparison, are tantalisingly truncated. Lilies and Parrot Shawl is closely related to a larger still life composition – Still Life with Lilies and Ranunculus, of the same year – also created with her signature mirrored process of incised woodblock and its unique printed impression. In contrast to the larger composition which includes a table and places the titular flowers in vases, Campbell’s narrow focus on one sprig of blooms set against a patterned fabric emphasises the screen-like shallow pictorial space for which she is so well-known. By sharing oblique views and isolating often overlooked details, Campbell conjures a sense of shared intimacy with her viewers. Although sculptural white lilies feature habitually in her still lives and interiors (from early works such as Lilies with Indian Cloth, 1994 to Lilies with Yellow Plate and Interior with White Lilies, 2003), here, for a brief suspended moment, the closed blooms do not distract from the magnificence of the woven leaves, branches and plumed parrots of the Indian shawl. Long before Campbell overtly described this process in the title of a work ( Journey Around My Room, 2019), she created images that gently coax viewers to travel through time and space, living vicariously through the artist and her personal recollections, both known and imagined. To collect is to travel, and the artist displays clearly her love for the objects in her collection through her careful attention. She explained this impetus in 1997 ‘things that I love, if I have not made them into a picture, I feel I have not fully experienced them.’1 The artist displays in her home (and in her artworks) these collections of artworks and ceramics. She also collects textiles, most acquired or borrowed from her sister, Sally, who deals in handmade Indian textiles.2 These bolts of fabric, delicately or boldly patterned, are regularly used by the artist as stimulating backgrounds for still-life compositions, placed as tablecloths on horizontal surfaces, or, as in this composition, hung in a screen behind a floral arrangement. A quiet achiever, Cressida Campbell has charmed Australian art lovers for over four decades, staying steadfastly true to her artistic vision and laboriously producing complex artworks of serene and seductive still lives, interiors and landscape views. Working at the intersection of painting and printmaking, she conjures beautiful unique images whose often prosaic subject matter conceals their meticulous conception. These works, on paper and on painted woodblock, are testaments to Campbell’s sophisticated visual intelligence and unwavering dedication to her artistic practice. With their unassuming beauty, they cannot help but remind us to slow down and to appreciate the visual beauty present in the everyday. 1. Campbell, cited in Wright, M., ‘Arts’, Australian Financial Review Magazine, Sydney, 26 September 1997, p. 112 2. Campbell, Interview with Rebecca Edwards, ‘Cressida Campbell and the Art of Collecting’, Cressida Campbell, National Gallery of Australia, Canberra, 2022, p. 48 LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency, 2024
Deutscher and Hackett
Aug. 28, 2024
CRESSIDA CAMPBELL born 1960, Music in the Kitchen 1994
Est: $8,000 - $12,000
PROPERTY FROM A PRIVATE COLLECTION, SYDNEY CRESSIDA CAMPBELL born 1960 Music in the Kitchen 1994 colour screenprint 46.0 x 57.0 cm (image); 56.0 x 76.0 cm (sheet); 71.5 x 81.5 cm (framed) edition: Printer's Proof (edition of 75) signed lower right: Cressida Campbell numbered lower left: PRINTER'S PROOF titled lower centre: MUSIC IN THE KITCHEN printed by Marnling Press, Sydney
Menzies
Aug. 28, 2024
CRESSIDA CAMPBELL born 1960, At Clareville 1978
Est: $4,000 - $6,000
PROPERTY FROM A PRIVATE COLLECTION, SYDNEY CRESSIDA CAMPBELL born 1960 At Clareville 1978 etching 30.5 x 24.0 cm (image); 54.0 x 45.5 cm (framed) edition: 2/3 signed and dated lower right: Cressida Campbell '78 numbered lower left: 2/3 titled lower centre: "AT CLAREVILLE"
Menzies
Aug. 28, 2024
CRESSIDA CAMPBELL born 1960, The Verandah 1987
Est: $8,000 - $12,000
PROPERTY FROM A PRIVATE COLLECTION, SYDNEY CRESSIDA CAMPBELL born 1960 The Verandah 1987 colour screenprint 94.0 x 58.5 cm (image); 124.5 x 86.0 cm (framed) edition: 45/99 signed and dated lower right: Cressida Campbell '87 numbered lower left: 45/90 titled lower centre: THE VERANDAH
Menzies
Aug. 27, 2024
Cressida Campbell, (b. 1960), The Woodblock Painting of Cressida Campbell, 2008 , book
Est: $800 - $1,200
Cressida Campbell (b. 1960) The Woodblock Painting of Cressida Campbell, 2008 book 2nd edition, open edition, signed titled page ' Cressida Campbell', edited by Peter Crayford, Public Pictures, Bronte, 2008
Shapiro Auctioneers
Aug. 27, 2024
Cressida Campbell, (b. 1960), The Woodblock Painting of Cressida Campbell, 2008, book
Est: $700 - $900
Cressida Campbell (b. 1960) The Woodblock Painting of Cressida Campbell, 2008 book 1st edition, open edition, edited by Peter Crayford, Public Pictures, Bronte, 2008
Shapiro Auctioneers
Aug. 26, 2024
Cressida Campbell, Australia (b.1960), Cups 1984, Colour woodcut ed.1/5
Est: $4,000 - $6,000
Cressida Campbell Australia (b.1960) Cups 1984 Colour woodcut ed.1/5 Signed, titled & dated lower margin
Theodore Bruce Auctioneers & Valuers
Aug. 25, 2024
CAMPBELL Cressida (b.1960), Gum Blossom, 1986/7., Woodblock 5/10, 34.5x38cm (image)
Est: $7,000 - $10,000
CAMPBELL, Cressida (b.1960) Gum Blossom, 1986/7. Woodblock 5/10 34.5x38cm (image)
Davidson Auctions
Aug. 25, 2024
CAMPBELL Cressida (b.1960), 'Strelitzia (Bird of Paradise)' 1978., Coloured Pencil, 39.5x29cm
Est: $4,000 - $6,000
CAMPBELL, Cressida (b.1960) 'Strelitzia (Bird of Paradise)' 1978. Initialled lower right. Inscribed verso "The 1st drawing sold by Cressida Campbell 1978". Coloured Pencil 39.5x29cm PROVENANCE: Cressida Campbell; private collection of Helen Simons (purchased from the above during a visit to Palm Beach in 1978)
Davidson Auctions
Aug. 21, 2024
CRESSIDA CAMPBELL born 1960 The Verandah 1987 unique colour woodblock print on paper 95 x 59 cm (image) frame: Graphic Art Mount, Sydne
Est: $140,000 - $180,000
CRESSIDA CAMPBELL born 1960 The Verandah 1987 unique colour woodblock print on paper inscribed '1/1' lower left; inscribed 'THE VERANDAH' lower centre; signed and dated 'Cressida Campbell 87' lower right 95 x 59 cm (image) frame: Graphic Art Mount, Sydney (label verso) PROVENANCE Cressida Campbell, Sydney Mori Gallery, Sydney Private Collection, England, acquired from the above in 1987 EXHIBITED Cressida Campbell, Mori Gallery, Sydney, 18 August – 5 September 1987, no. 21 LITERATURE Peter Crayford (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. no. P8521, pp. 192 (illustrated, detail), 193 (illustrated, detail), 194, 195 (illustrated), 341 Sarina Noordhuis-Fairfax (ed.), Cressida Campbell, National Gallery of Australia, Canberra, 2022, pp. 208 (woodblock illustrated), 233 (woodblock illustrated)
Smith & Singer
Jul. 31, 2024
CRESSIDA CAMPBELL, (1960 -), The Living Room Lamp, 1982, oil on paper, 51 x 71 cm. (20.0 x 27.9 in.), frame: 77 x 94 x 3 cm. (30.3 x 37.0 x 1.1 in.)
Est: $40,000 - $50,000
CRESSIDA CAMPBELL (1960 - ) The Living Room Lamp, 1982 oil on paper signed and dated lower left
Lawsons
Jun. 26, 2024
CRESSIDA CAMPBELL born 1960, Michael Hobbs' View 1985
Est: $70,000 - $90,000
PROPERTY FROM A PRIVATE COLLECTION, SYDNEY CRESSIDA CAMPBELL born 1960 Michael Hobbs' View 1985 woodblock print 89.5 x 53.5 cm (image); 97.0 x 59.0 cm (sheet); 116.0 x 78.0 cm (framed) edition: 2/3 signed and dated lower right: Cressida Campbell ‘85 numbered lower left: 2/3
Menzies
May. 26, 2024
CAMPBELL Cressida (b.1960), Untitled, 1979., Inked Drypoint Synthetic Plate, 34x23cm
Est: $1,000 - $2,000
CAMPBELL, Cressida (b.1960) Untitled, 1979. Inked Drypoint Synthetic Plate 34x23cm PROVENANCE: Collection of Leonard Matkevich, ex Senior Head Teacher, Printmaking workshop, Art School East Sydney 1970-1995.
Davidson Auctions
May. 26, 2024
CAMPBELL Cressida (b.1960), Cabbage Study, 1979., Inked Drypoint Synthetic Plate, 27x26.5cm
Est: $1,200 - $2,500
CAMPBELL, Cressida (b.1960) Cabbage Study, 1979. Inked Drypoint Synthetic Plate 27x26.5cm PROVENANCE: Collection of Leonard Matkevich, ex Senior Head Teacher, Printmaking workshop, Art School East Sydney 1970-1995.
Davidson Auctions
May. 26, 2024
CAMPBELL Cressida (b.1960), Banksia and Masks, 1979., Inked Drypoint Synthetic Plate, 30x31cm
Est: $1,500 - $3,000
CAMPBELL, Cressida (b.1960) Banksia and Masks, 1979. Inked Drypoint Synthetic Plate 30x31cm PROVENANCE: Collection of Leonard Matkevich, ex Senior Head Teacher, Printmaking workshop, Art School East Sydney 1970-1995.
Davidson Auctions
May. 26, 2024
CAMPBELL Cressida (b.1960), Interior with Foliage and Shells, 1979., Inked Drypoint Synthetic Plate, 27x33cm
Est: $2,000 - $4,000
CAMPBELL, Cressida (b.1960) Interior with Foliage and Shells, 1979. Inked Drypoint Synthetic Plate 27x33cm PROVENANCE: Collection of Leonard Matkevich, ex Senior Head Teacher, Printmaking workshop, Art School East Sydney 1970-1995.
Davidson Auctions
May. 21, 2024
Cressida Campbell, (b. 1960), At Clareville, 1978, etching on paper, 33.5 x 26 cm
Est: $3,000 - $5,000
Cressida Campbell (b. 1960) At Clareville, 1978 etching on paper edition: 2/6, numbered and signed below image '2/6, Cressida Campbell'
Shapiro Auctioneers
May. 21, 2024
Cressida Campbell, (b. 1960), Music in the Kitchen, 1994, colour screenprint on paper, 46 x 57 cm
Est: $10,000 - $15,000
Cressida Campbell (b. 1960) Music in the Kitchen, 1994 colour screenprint on paper edition: 27/75, numbered, titled and signed below image '27/75, Music in the Kitchen, Cressida Campbell'
Shapiro Auctioneers
May. 21, 2024
Cressida Campbell, (b. 1960), Vegetable Garden, 1988 , screenprint in 36 colours on paper, 76 x 57.5 cm
Est: $8,000 - $12,000
Cressida Campbell (b. 1960) Vegetable Garden, 1988 screenprint in 36 colours on paper edition: 15/99, numbered, titled, signed and dated below image, '15/99, Vegetable Garden, Cressida Campbell '88'
Shapiro Auctioneers
May. 21, 2024
Cressida Campbell, (b. 1960), The Verandah, 1987, screenprint in 30 colours, on paper, 94 x 58.5 cm
Est: $10,000 - $15,000
Cressida Campbell (b. 1960) The Verandah, 1987 screenprint in 30 colours, on paper edition: 79/99, numbered, titled, signed and dated, below image ‘79/99, The Verandah, Cressida Campbell, '87'
Shapiro Auctioneers
May. 07, 2024
Cressida Campbell (born 1960) Parsley Bay, Sydney, 1992
Est: $150,000 - $250,000
Cressida Campbell (born 1960) Parsley Bay, Sydney, 1992 signed lower left: 'Cressida Campbell' watercolour on incised woodblock 112.0 x 79.0cm (44 1/8 x 31 1/8in).
Bonhams
Apr. 24, 2024
CRESSIDA CAMPBELL, CACTI, BOTANIC GARDENS, ADELAIDE, 1987
Est: $100,000 - $140,000
CRESSIDA CAMPBELL born 1960 CACTI, BOTANIC GARDENS, ADELAIDE, 1987 watercolour on incised woodblock 89.0 x 53.0 cm signed lower right: Cressida Campbell signed and inscribed with title verso: Cressida Campbell / ‘CACTII [sic], BOTANIC GARDENS, ADELAIDE’ PROVENANCE Private collection, Sydney Shapiro, Sydney, 10 December 2001, lot 82 (as ‘Cactus House’) Private collection, Sydney Maitland Regional Art Gallery, New South Wales, a gift from the above to raise funds Private collection, New South Wales, acquired from the above in 2006 LITERATURE Crayford, P., The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. W8703, p. 348 Cressida Campbell, National Gallery of Australia, Canberra, 2022, p. 232 (woodblock print illustrated) RELATED WORK A print from this woodblock is held in the Parliament House Art Collection, Canberra ESSAY Cressida Campbell is an artist who requires no introduction, having attained through years of fastidious and unwavering commitment, a level of undeniable public and critical recognition for her unique painted and incised woodblocks and their chalky mirrored prints. Cacti, Botanic Gardens, Adelaide, 1987 demonstrates Campbell’s predilection for meticulously constructed images with a masterful handling of design, texture and tone. When painting landmarks of historical and architectural significance, Campbell consistently turns away from clichéd frontal views, instead presenting asymmetric and oblique glimpses, ‘not the sort found on postcards.’1 True to this Japanese sensibility for composition, the vertical view presented within Cacti, Botanic Gardens, Adelaide privileges an obstructive tangle of spiky outlines and bulbous alien forms of a succulent garden in the foreground. Campbell leaves an unconventional view of the gleaming white and sapphire structure of Adelaide’s colonial Palm House, the ‘pride and ornament of the city’2, to vie for attention in the background. The exquisite Victorian glasshouse, with a sophisticated iron and glass tensile structure made possible through technological developments of the Industrial Revolution, was imported from Bremen in Germany in 1875 at a time of great economic prosperity in the South Australian colony. It is thought to be the only one of its kind still in existence.3 By 1986, however, the corrosion of its iron glazing bars made the building unsafe for public use and it was closed for extensive restoration, only reopening in 1995.4 Campbell’s view of this impenetrable glass palace was probably created while she was visiting Adelaide in the company of her partner, Peter Crayford, whom she married in 1991. While Crayford grew up in regional Whyalla, he attended university in Adelaide and throughout the 1980s maintained strong connections to the city through his role with the Adelaide Film Event.5 Cacti, Botanic Gardens, Adelaide is a rare depiction of this city within Campbell’s oeuvre. Under a brilliant blue sky painted with a mottled, uneven surface, Campbell presents with flat graphic patterning, the exuberant, wild beauty of an arid desert garden in full bloom. Her pale powdery surface of watercolour pigment after printing is well suited to the range of textures and variegations found in this garden. Although other depictions of cacti within Cressida’s work ( Cacti Garden, 1985 and Cacti Garden, Bronte House, 2001) are boldly detailed against a monochrome background, here their forms, dotted with irregular spines, are echoed in the pristine rectilinear columns, glass dome and fanciful ironwork details of the looming architectural structure. Campbell’s botanical luxuriance defies the categorisation and genteel refinement of the colonial botanic garden. Entirely unfettered by manmade structures, the cacti extend beyond the picture frame, snaking across the picture frame and even whimsically peeking out in a spiky sliver along the right-hand edge. The ‘certain wildness in Campbell’s depiction of plant life’6 is a pervasive, and often overlooked, theme within her works, conveying a joyful sense of disobedience and concealing the careful manipulation and orchestration with which the artist has transformed her subject. 1. McDonald, J., ‘Cressida Campbell’, Destination Sydney, The Beagle Press and Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery, 2015, p. 108 2. ‘The Palm-House in the Botanic Garden’, Evening Journal, Adelaide, 22 January 1877, p. 3 3. Parsons, A., ‘Palm House’, SA History Hub, History Trust of South Australia, see https://sahistoryhub.history.sa.gov.au/places/palm-house (accessed March 2024) 4. ibid. 5. McDonald, J., ‘Peter Crayford’, Australian Financial Review, November 2011 6. Dixon-Smith, I., ‘A Wild Kind of Optimism’, Cressida Campbell, National Gallery of Australia, Canberra, 2022, p. 183 LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency 2024
Deutscher and Hackett
Apr. 17, 2024
§ CRESSIDA CAMPBELL born 1960 Burley Griffin House, Avalon (1999) unique colour woodblock print on paper 67 x 119 cm (image) frame: ori
Est: $140,000 - $180,000
§ CRESSIDA CAMPBELL born 1960 Burley Griffin House, Avalon (1999) unique colour woodblock print on paper signed 'Cressida Campbell' lower right 67 x 119 cm (image) frame: original, Paddington Frames, Sydney (label verso) PROVENANCE Cressida Campbell, Sydney Rex Irwin Art Dealer, Sydney Private Collection, New South Wales, acquired from the above in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July - 7 August 1999, no. 3 (label verso) LITERATURE Peter Crayford (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. no. P9902, pp. 224, 226-227 (illustrated), 346, 356
Smith & Singer
Apr. 10, 2024
CRESSIDA CAMPBELL (born 1960) Vegetable Garden 1988 screenprint, ed. 47/99 accompanied by a copy of 'The Woodblock Painting of Cress..
Est: $8,000 - $12,000
CRESSIDA CAMPBELL (born 1960) Vegetable Garden 1988 screenprint, ed. 47/99 accompanied by a copy of 'The Woodblock Painting of Cressida Campbell' book signed and dated lower right: Cressida Campbell '88 titled lower centre editioned lower left 76 x 57cm PROVENANCE: Rex Irwin Art Dealer, Sydney Private collection, Sydney EXHIBITIONS: Cressida Campbell, National Gallery of Australia, Canberra, 24 September 2022 – 19 February 2023 (another example) LITERATURE: Crayford, P., The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2008, cat. no. S8802, p. 355 (another example) OTHER NOTES: Cressida Campbell's artistic oeuvre radiates a timeless allure, beckoning viewers to embrace the serenity and grace inherent in everyday life. Through her meticulous craftsmanship and adept manipulation of form, Campbell transcends the ordinary, transforming mundane subjects such as gardens, laundry, or household clutter into captivating works of profound aesthetic qualities. Her keen eye for detail is evident in every stroke, with distinctive elements accentuated in carefully composed arrangements or juxtaposed against evocative backdrops, providing insight into the artist's unique perspective. In her portrayal of 'The Vegetable Garden,' Campbell offers a glimpse into a tranquil corner of nature, focusing on a linear garden rake and a basket brimming with freshly harvested produce. This intimate picture invites viewers to immerse themselves in the abundance and simplicity of the garden setting, adopting a sense of connection to the natural world. Through her meticulous process, Campbell captures the essence of the subject matter with unparalleled precision and depth, inviting contemplation and appreciation of life's inherent beauty. Hannah Ryan Prints & Multiples Specialist © Cressida Campbell/Copyright Agency, 2024
Leonard Joel
Mar. 24, 2024
§ CRESSIDA CAMPBELL (1960 - ), Interior with Daffodils, 2010, unique woodblock (watercolour on incised plywood), signed lower left "Cressida Campbell", Rex Irwin Art Dealer label verso with exhibition details, 50 x 33cm, 42 x 26cm overall
Est: $40,000 - $60,000
§ CRESSIDA CAMPBELL (1960 - ), Interior with Daffodils, 2010, unique woodblock (watercolour on incised plywood), signed lower left "Cressida Campbell", Rex Irwin Art Dealer label verso with exhibition details, 50 x 33cm, 42 x 26cm overall § - 5% Resale Royalty Applicable
Leski Auctions Pty Ltd
Nov. 25, 2023
CAMPBELL Cressida (b.1960), 'Pyrmont,' 1984., Watercolour on Incised Woodblock, 59.5x32cm (image) 78x50.5cm (overall)
Est: $50,000 - $70,000
CAMPBELL, Cressida (b.1960) 'Pyrmont,' 1984. Signed lower right. Watercolour on Incised Woodblock 59.5x32cm (image) 78x50.5cm (overall) PROVENANCE: Estate Late Prue Socha, Sydney. LITERATURE: 'The woodblock painting of Cressida Campbell', Peter Crayford ed. pub 2008, cat #W8511 (incorrectly dated to 1985), illus. p202 (detail)
Davidson Auctions
Nov. 22, 2023
CRESSIDA CAMPBELL, VASE, 1999
Est: $15,000 - $20,000
CRESSIDA CAMPBELL born 1960 VASE, 1999 watercolour on incised woodblock 19.0 x 20.5 cm signed lower left: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney Acquired from the above by the present owner in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July – 7 August 1999, cat. 32 LITERATURE Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. W9914, p. 352 © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 22, 2023
CRESSIDA CAMPBELL, PUMPKIN AND EGGPLANT, 1991
Est: $12,000 - $18,000
CRESSIDA CAMPBELL born 1960 PUMPKIN AND EGGPLANT, 1991 unique colour woodblock print 27.0 x 28.0 cm signed, dated and inscribed with title below image PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1991 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 9 April – 4 May, 1991, cat. 19 LITERATURE Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. W9108, pp. 27 (woodblock illustrated), 343 © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 22, 2023
CRESSIDA CAMPBELL, INTERIOR WITH RED GINGER, 1998
Est: $160,000 - $220,000
CRESSIDA CAMPBELL born 1960 INTERIOR WITH RED GINGER, 1998 unique colour woodblock print 119.0 x 84.5 cm signed lower right: Cressida Campbell signed below image lower right: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July – 7 August 1999, cat. 2 LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. P0306, pp. 231 (woodblock illustrated), 357 ESSAY Cressida Campbell, through decades of unwavering commitment to a unique, detailed, and labour intensive artistic medium, has recently risen to new heights of critical and public acclaim. Her recent survey exhibition at the National Gallery of Australia is said to have broken attendance records and further cemented her position as a household name. Working at the intersection of printmaking and painting, Campbell conjures mirrored pairs of serene images, their prosaic subject matter often concealing the artist’s considered orchestration. These works, painted and incised woodblocks and printed on paper, are testaments to Campbell’s sophisticated visual intelligence and humble appreciation for the small wonders in her immediate physical environs. At the turn of the 20th century German philosopher and cultural critic Walter Benjamin theorised the domestic interior as a refuge of the collector, ‘not just the universe but also the étui (ornamental case) of the private individual. To dwell means to leave traces’.1 This sun-drenched and softly mottled woodblock print, Interior with Red Ginger, 1998 displays an interior view of the airy seaside home of the artist’s friend Lynne Clarke (née Drysdale) in Newport. Campbell elaborated on the influence of this friendship in an audio recording for the National Gallery exhibition: ‘[she is] one of my oldest friends and she's been a huge influence to me in interiors and gardens and the way she places things. [...] She'll arrange plants amazingly, [an] incredible gardener. [..] I mean it's brilliant interior design really.’2 The arrangement of contrasting textural details; of tropical floral combs with shiny broad leaves, white linen couches strewn with soft blankets, worn blond floorboards and discarded camcorder in the foreground alludes to an insouciant holiday atmosphere, with the room perhaps only recently vacated by its bare-footed inhabitants. Compositionally daring, the artist’s domestic interiors present a feast for the eyes, demonstrating her broad engagement with her personal domestic realm, both at home and in temporary pied-à-terres. In a similar vein to the French intimist painters of the late 19th century, Campbell’s works often start with interstitial spaces (corridors, windows, alcoves) and from this entry point present a combination of several genres: still life in the foreground, moving into a deep view of a room, and finally culminating in a sliver of a landscape glimpsed through a window or open balcony door. Long before Campbell overtly described this process in the title of a work (Journey Around My Room, 2019), her interiors gently coaxed viewers to travel through time and space, living vicariously through the artist and her personal recollections, both known and imagined. It is clear that Campbell is a pure aesthete. Her works are sublime, carrying no socio-political impetus, nor aiming to surprise or shock viewers. She delights in the form and colour of everyday objects, translating and manipulating them into artworks that express the enduring appeal of quiet tranquillity. Although singled out in the title of this print as the key identifying feature of this interior, the spiky cylindrical clusters of the Ginger Lily are partly obscured in the left-hand side of the image. They are placed within a complex intersection of angular planes and panes of glass, between framed artworks on the wall and French doors opening presumably to a verandah out of view. While the dark timber balustrade anchors the composition in the left-hand corner, the whitewashed window frames of the bay windows in the upper right reveal a brilliant blue sky, with palm fronds and a second ginger blossom, connecting the interior with the world beyond. Here Campbell is at the height of her technical proficiency, delighting in the intellectual game of representing pictures in pictures, using a printing process that itself requires a mastery of reflected images. 1. Benjamin, W., The Work of Art in the Age of Technological Reproducibility and other Writings on Media, Harvard University Press, Cambridge, 2008, p. 104 2. The artist, 2022 at https://nga.gov.au/tours/cressida-campbell/stop/123/ (accessed September 2023) LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 22, 2023
CRESSIDA CAMPBELL, SPOTTED GUMS, 1999
Est: $140,000 - $180,000
CRESSIDA CAMPBELL born 1960 SPOTTED GUMS, 1999 watercolour on incised woodblock 75.0 x 49.5 cm signed lower left: Cressida Campbell signed verso: Cressida Campbell PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) Acquired from the above by the present owner in 1999 EXHIBITED Cressida Campbell, Rex Irwin Art Dealer, Sydney, 13 July – 7 August 1999, cat. 20 LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures Pty Ltd, Sydney, 2010 (3rd ed.), cat. W9904, 134-135 (illus. detail), 137 (illus.), 352 ESSAY Cressida Campbell’s incised and hand-painted woodblock, Spotted Gums, 1999 is softly and naturalistically immersive. It presents a familiar and awe-inspiring glimpse into one of Australia’s unique primeval landscapes and preserves its fragile integrity in chalky watercolour paint. Through a rhythmic alternation of dark and light mottled tree trunks Campbell endows this harmonious composition with a dynamic depth of field and an uplifting verticality. The late Nick Waterlow, esteemed Australian curator and art historian, wrote in an introduction to Cressida Campbell’s first solo exhibition in London in 2001 that her distinctive artworks had the capacity to ‘provide constant reminders of the unique wonders of nature in this ancient continent’ and constituted ‘a wonderfully refreshing antidote to all those forces that want to separate us from our surrounding environment.’1 Having lived all her life in pockets of Sydney between bush and the constructed urban environment, and with a predilection for utilising her immediate environs within each artwork, scrubby and chromatically muted scenes of the east-coast bush have been recurrent and steadfast subjects throughout Campbell’s career. Using Spotted Gums as her key image, Campbell chose to group a large number of these works together in her 2008 monograph under the unassuming title ‘Bush’, reuniting vast panoramas with intimate single flower studies, linked through their delicate and detailed evocation of native flora.2 Continuing an enduring tradition of picturing an untouched natural wilderness in Western art, Spotted Gums belongs to a suite of botanical works drawn from life in the endangered, sub-tropical bush around the Stella James House in Avalon, on Guringai country on Sydney’s Northern Beaches.3 The artist and her first husband, Peter Crayford, lived in this heritage-listed Walter Burley Griffin house over the summer of 1999 – 2000. Enclosed by tall stands of Pittwater Spotted Gums and angophora, the house overlooks thirty thousand square metres of open forest on the slopes below. This pristine vegetation was an enticing pictorial subject for Campbell, appearing in several woodblocks and prints between 1999 – 2000, often featuring a combination of Pittwater’s distinctive eucalypts, cycads, and Cabbage Palms. Framed in the lower corners by pinnated leaves of cycads and browning ferns, the airy composition of Spotted Gums is dominated by the strong vertical lines of the trunks of these gum trees, which tower way beyond the limits of our vision. In the foreground, a wide and mottled eucalypt trunk bisects the composition cleanly from top to bottom. It draws the viewer into Campbell’s view and directs the eye delicately throughout its dense bush, amongst the trunks, deep indigo shadows, and beyond, into the rising sea mist and pale open sky above the horizon line. While tall, Campbell’s view of this eucalypt forest is contained, a small fragment of the vast view that the artist had enjoyed from where she stood. The artist’s unusual and painstaking practice of painting her woodblocks with watercolour, using a technique similar to cloisonné, lends a chalky, mottled texture to both finished artworks (block and unique print). The inconsistencies and velvety textures left on the block’s surface after the printing process, provide a tactile evocation of the mottled bark and rough surfaces of its subject matter. The clean incised outlines of tree trunks and detailed clumps of leaves dissolve into the damp and shady depths of the forest, keeping a sense of mystery within its detailed naturalism. Campbell’s prints and blocks display a fragment of her reality, leaving clues to hint at what lies beyond the frame. With reverence, Campbell translates the ancient grandeur of Australia’s native flora, and in evoking its unique beauty, silently entreats the viewer for its continuing respect and preservation. 1. Waterlow, N., Cressida Campbell Recent Paintings, Nevill Keating Pictures, London, 2001 2. Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, pp. 132 – 191 3. NSW Landcare: https://landcare.nsw.gov.au/groups/stella-james-house-bushcare/ LUCIE REEVES-SMITH © Cressida Campbell/Copyright Agency 2023
Deutscher and Hackett
Nov. 21, 2023
§ CRESSIDA CAMPBELL born 1960 Wheat Fronds and Sky (2016) unique colour woodblock print 109 x 120 cm frame: original, Andrew Bassett, S
Est: $200,000 - $250,000
§ CRESSIDA CAMPBELL born 1960 Wheat Fronds and Sky (2016) unique colour woodblock print signed 'Cressida Campbell' lower right 109 x 120 cm frame: original, Andrew Bassett, Sydney (label verso) PROVENANCE Cressida Campbell, Sydney Contemporary Fine Arts, Berlin Private Collection, Melbourne, acquired from the above EXHIBITED Cressida Campbell and Tim Storrier: Difficult Pleasures, Contemporary Fine Arts, Berlin, 14 January - 4 March 2017 (label verso)
Smith & Singer
Nov. 20, 2023
Cressida Campbell (b. 1960) The Woodblock Painting of Cressida Campbell, 2008
Est: $600 - $800
book, open edition, edited by Peter Crayford, Public Pictures, Bronte, 2008, A/F
Shapiro Auctioneers
Nov. 15, 2023
CRESSIDA CAMPBELL (born 1960) Lilies 1984 woodblock, ed. 6/7 50 x 33cm
Est: $4,000 - $6,000
CRESSIDA CAMPBELL (born 1960) Lilies 1984 woodblock, ed. 6/7 signed and dated lower right: Cressida Campbell '84 titled lower centre editioned lower left 50 x 33cm PROVENANCE: Shapiro Auctioneers, Sydney, 21 July 2004, lot 209 Private collection, Queensland OTHER NOTES: © Cressida Campbell/Copyright Agency, 2023
Leonard Joel
Oct. 19, 2023
CRESSIDA CAMPBELL (1960 - ) - The Verandah, 1987 screenprint, ed. 73/99 58.5 x 94 cm (frame: 126 x 88 x 2 cm)
Est: $8,000 - $12,000
CRESSIDA CAMPBELL (1960 - ) The Verandah, 1987 screenprint, ed. 73/99 58.5 x 94 cm (frame: 126 x 88 x 2 cm) signed and dated lower right | Provenance: Private Collection, Adelaide.
Lawsons
Sep. 20, 2023
Cressida Campbell (b. 1960) Vegetable Garden, 1988
Est: $7,000 - $9,000
screenprint in 36 colours on paper, edition: 72/99, numbered, titled, signed and dated below image, 72/99, Vegetable Garden, Cressida Campbell 88
Shapiro Auctioneers
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Seeds 1995
Est: $2,500 - $3,500
CRESSIDA CAMPBELL born 1960 Seeds 1995 woodblock print 37.0 x 50.5 cm (image); 56.0 x 76.0 cm (sheet) edition: Artist's Proof (edition of 50) signed lower right: Cressida Campbell numbered lower left: A/P titled lower centre: "SEEDS" published by Marnling Press, Sydney (blindstamp lower right)
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Wedge-tailed Eagles 1978
Est: $9,000 - $12,000
CRESSIDA CAMPBELL born 1960 Wedge-tailed Eagles 1978 colour screenprint 41.5 x 48.5 cm (image); 54.0 x 58.5 cm (sheet) edition: 4/8 signed and dated lower right: Cressida Campbell '78 numbered lower left: 4/8
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Masks 1979
Est: $9,000 - $12,000
CRESSIDA CAMPBELL born 1960 Masks 1979 colour screenprint 45.5 x 72.5 cm (image); 63.5 x 91.5 cm (sheet) edition: 5/9 signed and dated lower right: Cressida Campbell '79 numbered lower left: 5/9
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Protea 1978
Est: $10,000 - $15,000
CRESSIDA CAMPBELL born 1960 Protea 1978 woodblock print 29.5 x 44.5 cm (image); 42.5 x 54.5 cm (sheet) edition: 2/4 signed and numbered lower right: Cressida Campbell 2/4 dated lower left: '78
Menzies
Aug. 30, 2023
CRESSIDA CAMPBELL born 1960, Bondi Baths 1984
Est: $18,000 - $25,000
CRESSIDA CAMPBELL born 1960 Bondi Baths 1984 woodblock print 52.5 x 53.5 cm (image); 70.0 x 68.5 cm (sheet) edition: 2/4 signed and dated lower right: Cressida Campbell '84 numbered lower left: 2/4 titled lower centre: 'BONDI BATHS'
Menzies
Aug. 25, 2023
Cressida Campbell
Est: $1,500 - $2,000
The Woodblock Painting of Cressida Campbell Edited by Peter Crayford. Published in Bronte (Sydney) by Public Pictures Pty Ltd in 2008. First edition. This is a mint copy in similar dustwrapper. The very rare and desirable first edition of the book about Australia's premier woman artist
Sydney Rare Book Auctions
Aug. 23, 2023
CRESSIDA CAMPBELL born 1960 The Bush (1986) watercolour on incised woodblock 50 x 22.5 cm
Est: $60,000 - $80,000
CRESSIDA CAMPBELL born 1960 The Bush (1986) watercolour on incised woodblock signed 'Cressida Campbell' lower left 50 x 22.5 cm PROVENANCE Cressida Campbell, Sydney Nevill Keating Pictures, London Private Collection, England, acquired from the above in 2001 EXHIBITED Cressida Cambell: Recent Paintings, Nevill Keating Pictures, London, 6-27 July 2001, no. 6, illustrated LITERATURE Peter Crayford (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. no. W8603, pp. 174 (illustrated), 348
Smith & Singer