Lot 81
  • 81

ALBERT NAMATJIRA

Estimate
30,000 - 40,000 AUD
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Description

  • Albert Namatjira
  • GHOST GUM, MACDONNELL RANGES
  • Signed lower right
  • Watercolour on paper
  • 26.5 by 36.3 cm

Provenance

Purchased from Albert Namitjira Exhibition, Sydney, circa 1950s; thence by descent
Private collection, New South Wales

Condition

Good condition. Some discoloration to upper left margin. Small tear bottom right (at base of tree). This painting is framed under glass.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

The ghost gum of central Australia is no doubt the most iconic of Namatjira's images; initially exhibited in his first solo show held at the Fine Art Society Gallery in Melbourne, 1938 it became a reccurring motif throughout his short career.

The prominent placement of the tree in Ghost Gum, MacDonnell Rangers renders it the subject of the picture. Placed in the immediate foreground, the tree stands at the perimeter of the horizontal landscape and frames the composition. It is almost a portrait with its delicate and particular treatment.

This careful attention to detail continues throughout the work. The high horizon line emphasises the rich texture of the land which is achieved through various methods of brushstroke, in both density and direction, and in paint application, with solid blocks of colour and more watered down areas. The rich ochres, purples and olives of Namatjira's country are drenched in an all encompassing and absolute light.

As Elywn Lynn explains, Namatjira's perspective of the landscape is a highly personalised and sensitive one. 'So symbolic of human feelings is this landscape that it never seems a stage awaiting its performers. The landscape performs.' 1

1. quoted in Nadine Amadio, Albert Namatjira, Macmillan Australia, Melbourne, 1986, p. 8