Charles Blackman

The artist
Barbara Blackman, Canberra since circa 1980

UV examination of work reveals evidence of retouching upper right corner and varnish (?) splashes lower left. Surface encrustation centre right (on neck). Visible deformation (warping of support) upper half.
"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."

Here offered for the first time, this important Spring Hill painting is a symbolic self-portrait, and is closely comparable with the well-known Boy with a bird (1952,  National Gallery of Victoria).

The work was painted when the artist was 23 years old and in love with life, art and poetry, using brushes and enamel given him by Sunday Reed. Here, Blackman matches his internal, Rimbaudian sense of individual 'becoming' with the external, environmental reality of developing Brisbane, seen in the changing hillside landscape and ghostly tree stumps. Against this Nolanesque landscape background, the new prodigy appears firm, fresh and alert, wearing a soft blue hat and shirt and starched white shorts, his painting arm at the ready, standing alongside a floral border symbolic of creation.

We are most grateful to Felicity St. John Moore for her assistance in cataloguing this work.