David Boyd Collagraph prints hand signed titled Cressida, Doris and Merrick the Whale, Jessamine are just a few to arrive at Etching House.
NEWS -David Boyd 1924 to 2011, sadly this week November 2011 the passing of David Boyd was announced. A very much loved Australian Iconic artist will always remain with us through his beautiful art works that spanned many years in Oil paintings, etchings, and prints, David Brought a wonderful presence of love beauty and joy to the Australian art world, he will be sadly missed, Etching House
ABOUT DAVID BOYD
David Boyd was born in Melbourne in 1924; he is a figurative painter, ceramic sculptor and potter.
David Boyd’s art stems from a long family tradition of artistic talent. Acclaimed as a potter in the fifties and sixties, he began his career as a painter in 1957 with a series of symbolic paintings on Australian explorers. Since then, David Boyd has painted several major series of works, including his powerful Trial series, the Tasmanian Aborigines, the Wanderer and Exiles series and his Explorer series.
Following the success of his career with oil paintings David Boyd started to release successfully limited edition fine art etchings and prints to which Etching House collects for resale.
Picturing innocence and evil, destruction and creation, his works convey mythical and universal themes. Having won significant international recognition, David Boyd was invited by the Commonwealth Institute of Art, London, to hold a retrospective of paintings at their Art Gallery in 1969. The introduction to the catalogue written by Professor Bernard Smith the then Professor of Contemporary Art in the University of Sydney summed up the work and position of David Boyd in the Australian art scene when he wrote:-
“This exhibition represents a personal victory over fashion. For ten years David Boyd has painted against the current mainstream and for ten years Australian critics subjected his art to severe criticism. But during the last twelve months or so the hostility has weakened; revised opinions are beginning to appear. What was really at issue was not so much the quality of the paintings as the validity of his position.. Moral values, the human condition, might well have inspired so it was argued, great art in the past. But painting had now exhausted these positions. They were no longer available for the artist of the nineteen sixties. The criticism has not mattered much. David Boyd has continued to paint in his own personal manner and to find an audience and a growing market for his art in Australia and Britain. He has found that there is still a place for a moral painter.” (The Art of David Boyd, Nancy Benko, Hyde Park Press 1973)
Boyd is a world class artist whose work always causes a definite emotional reaction from his public. Always true to his thoughts and feelings he remains a distinguished Australian artist.
David Boyd is represented in the Australian National Gallery, Canberra; all State and many regional galleries; the Mertz collection, USA; the Power collection, Sydney; and many major international galleries and private collections in Australia and overseas.
Here is more detailed information of where some of David Boyd art collections are being held:
Australian War Memorial, Canberra; Queensland University, Brisbane; Art Gallery of South Australia, Adelaide; Ballarat Art Gallery, Ballarat, Victoria; Sydney University (Law Faculty), Sydney; Harold Mertz Collection of Australian Paintings, United States of America; Queensland Art Gallery, Brisbane; Lincolnshire and South Humberside Arts, Usher Gallery, Lincloln, England, Fine Arts Department, University of Melbourne; National gallery, Canberra; Adelaide Art Teachers College, Adelaide, SA; Monash University, Melbourne, Victoria, Law School, University of Melbourne; Newcastle Region Art Gallery; New South Wales; University of New South Wales; Sydney University Power Collection; Bendigo Art Gallery; Graylands College, Perth, Western Australia; National Gallery of Victoria; The University of Adelaide, South Australia; Macquarie University, Sydney, New South Wales; Bundanon Trust, Nowra, New South Wales; Macquarie University, New South Wales; National Gallery of Victoria, Adam and Eve; Art Gallery Of Western
The Legend of “Europa and the Cockatoo” – By David Boyd
The Legend of Europa and the Cockatoo is dedicated to my brother, Arthur Boyd, in appreciation of his generosity to the Australian people and his affection for cockatoos.” – David Boyd, 1995 “Unlike the various Trial series of paintings which used the visual language to express ideas about a fundamental and disturbing feature of the human condition, The Legend of Europa and the Cockatoos are presented as an entertaining parable. The following background notes may be of interest to people curious about how the series evolved. Late in 1994 I was working on some pastels called Music and the Angels. Because of the wings and the expression on the faces of the angel musicians, the pastels evoked the spirit of the Baroque rather than the exhilarating frenzy of 20th century rock music. Suddenly in December, following the opening of the new second north south runway and the closure of the main east west at Sydney Airport, the roar of jet aircraft ascending north in increasing frequency above my studio or the whining scream as they approached to land, completely drown the music of the angels. Putting aside their instruments they gazed sadly upwards or out of the picture. I have kept the angel that first appeared thus. It is called “Angel Listening to the Roar of Jets over Sydney Australia”. The painting belongs to the artists collection, on occasion is included, on loan, to selected exhibitions. What has does the above got to do with a winged figure chasing cockatoos? An idea can have its genesis in unexpected ways. Since boyhood I had not given a great deal of thought to airplanes, but now with huge jet machines constantly roaring overhead it become impossible to ignore this wonder of modern technology. To draw or paint pictures of the things would keep their menacing shape in the forefront of the mind; it happened that waiting amongst a stack of pencil drawings from the 1960’s was a sketch of a winged figure running through the bush land. The title, “Europa Fleeing from a Bushfire”, instantly kindled an idea. Why not! I thought. There is a link there, remote from jumbo jets but enough to set the imagination on fire. Using the drawings as reference I painted a winged figure running to gain speed, as a pelican does before rising. There followed other pictures of a related configuration – such as Europa falling above an inland sea or leaning against the rough back of a wombat while star gazing. At night she dreams that she is frolicking with the cockatoos. Sometimes her dreams are hounded by a sacred golden-plumed wombat sitting on her belly or the rarely seen black cockatoo. Her days are fully occupied chasing sulphur crested white cockatoos. Europa has fashioned herself a pair of solid gold wings but the weight of them prevents her from flying. She pursues the cockatoos because she believes their crests are made of the purest gold. She is convinced that if she captures the birds and enlarges her wings with their crests she will achieve the exhilarating freedom of flight. Europa is not successful until, from a hiding place in a wattle tree, she preys on the unsuspecting birds, grasping their crests when they fly close. Over a period of the hundred and seven years she gradually enlarges her wings. Alas, with each new crest she adds to the wings the heaver they become. The day arrives when she can no longer run or even move for she is crushed beneath the weight of her now mighty gold wings.
David Boyd (b. 1924)
1924 David Boyd was born in Murrumbeena, Melbourne.
David was the Third and youngest son of artists Merric and Doris Boyd.
David Boyd Studied pottery and painting within the family circle and also the piano
David Boyd Entered the Melba Memorial Conservatorium of Music at 17.
1942 Joined the Contemporary Art Society of Australia. Conscripted into Australian
1944-46 David Boyd Studied at the Melbourne Conservatorium of Music and the National
Art Gallery School on an ex-serviceman’s grant. First exhibition of paintings
with John Yule at the Rowden White Library, University of Melbourne.
In partnership with brother Guy Boyd founded Martin Boyd pottery in
1947 Painting expedition in New Caledonia with author Hugh Atkinson
1948-49 David Married Hermia Lloyd-Jones, younger daughter of graphic artist Herman
(Jonah) and Erica Lloyd-Jones he began pottery career with Hermia.
First exhibition of pottery in Sydney
1950-55 Established pottery studios in London and in the South of France joined
for a time by ceramist and painter Stanislaw Halpern. Travelled widely
throughout Spain and returned to Australia
1956 David and Hermia Boyd became widely known as leading Australian
Potters and Introduced new techniques in glazing and the use of the potters
wheel in shaping sculptural figures.
They greatly influenced local potters in particular Tom Sanders and John Perceval,
Major exhibition of ceramic tiles and sculptures at the Museum of Modern Art
1957-58 Commenced painting ‘The Explorer’ series, exhibited at the Australian
Galleries, Melbourne, and Clune Galleries, Sydney
1959 Started a series of paintings based upon the extinction of the full blood
Tasmanian Aboriginal in the nineteenth century and took part in issuing the
Antipodean manifesto with Blackman, Arthur Boyd, Brack, Dickerson,
Perceval, Pugh and B. Smith defending the figurative image in
contemporary painting in a joint exhibition in Melbourne. Exhibited
‘The Explorers and The Tasmanians’ in Adelaide
1960 Commenced a series of paintings on the theme of ‘Law and Justice and
The Trial series’, He was elected President of the Contemporary Art Society
(Victorian branch), Councillor of the Museum of Modern Art of Australia
1961 First prize Italian Art Scholarship for Australia. Chairman of the Federal
Council of the Contemporary Art Society of Australia
1962 Lived in Rome, continuing ‘The Trial’ series, before returning to England.
Settled in London
1963 First one-man exhibitions in London and Paris of ‘The Trial’ paintings
1964 Revisited Spain and painted ‘Church and State’ series based upon this visit
1965 One-man exhibitions in London and in Australia of ‘Church and State’
1966 Discovered method of using candle flame to create images and named
the technique Sfumato, a word used by Leonardo da Vinci to describe
graduations of a misty tone in painting (although there is no evidence
that Leonardo used a candle flame to achieve this effect)
1967-69 Exhibited Sfumato paintings in London and in Australia, including
Newcastle, New South Wales. Exhibited late Sfumato
and ‘Limbo’ paintings in Adelaide, South Australia. ‘War Games’ in
Sydney, NSW. Visited Boyd Town at Twofold Bay, south coast of New
South Wales. Commenced a series of paintings, ‘The Wanderer’, inspired
by the life of Benjamin Boyd, an Australian adventurer of the 1840s.
Retrospective exhibition of loaned works from various collections in
Australia and Britain at Commonwealth Institute Art Gallery, London,
Edinburgh and Sheffield
1970 Settled in south of France.
1971 First exhibition of Wanderer series was at the Festival of Arts in Adelaide
South Australia Next at von Bertouch Galleries Newcastle.
1971 Exhibited ‘The Wanderer’ series in separate sections in three concurrent
London exhibition’s started a series based on mythological ‘Orchard of
Heaven’, first exhibited in Brisbane, Queensland. Visited Australia
1972 Developed theme of ‘The Orchard’ and exhibited series
entitled ‘The Garden in the Wilderness’ in Newcastle, New South Wales.
1973 Commenced the ‘Exiles’ series which formed the latest inclusion in the exhibition.
David returned to France. Developed the theme, ‘The Exiles’
1973 Exhibited ‘The Exiles’ series in London and in Melbourne, Victoria
1974 Retrospective exhibition at Skinner Galleries, Perth, Festival of Arts
1975 Returned to Australia. Retrospective exhibition at
von Bertouch Galleries, Newcastle, NSW
1976 Retrospective exhibition at Bonython Gallery, Sydney
1977 Commenced series ‘The Private View’
1978 Developed theme of ‘The Private View’
1979-82 David had Major retrospective exhibitions, Albert Hall,
Canberra. Painted a series of works entitled ‘The Day of the Picnic’
1983 ‘Retrospective Exhibition 1957-82’, a series of seven exhibitions,
Wagner Art Gallery, Sydney
1985 Exhibition ‘Four Seasons’, Wagner Art Gallery, Sydney
1986 Exhibited ‘A Judge in the Landscape’ series, Hong Kong; Wagner Art
Gallery, Sydney; von Bertouch Galleries, Newcastle
1987 Exhibition ‘Requiem for the Birth of a Nation’, Wagner Art Gallery, Sydney
1988 Exhibition ‘Antipodean Second Chapter’, Lauraine Diggins Fine Arts,
Melbourne; Lanyon Gallery, Canberra
1989 S.H. Ervin Gallery, Sydney, ‘Antipodean Second Chapter’
1990 Dedicated to Merric and Doris Boyd, Wagner Art Gallery, Sydney
1991-92 ‘The Clown in the Tree’ series
1992 Survey retrospective exhibitions Wagner Gallery, Sydney; Caulfield Art
Complex, Melbourne; Macquarie University, Sydney; Beaver Galleries,
1993-94 ‘Metaphors of Trial’ series, von Bertouch Galleries, Newcastle
1995 ‘The Legend of Europa and the Cockatoos’, Eva Breuer Art Dealer,
1996 ‘Europa in Australia’, von Bertouch Galleries, Newcastle
1996-97 ‘Driftwood’ and the ‘Hierarchy’ series, von Bertouch Galleries; Wagner
1998 Music and the Angels, Galeria Aniela, Kangaroo Valley
1999 Survey retrospective, von Bertouch Galleries, Newcastle
2001 Reconciliation, Eva Breuer Art Dealer, Sydney, NSW
Appointments and Awards
1960 President of the Contemporary Art Society (Victorian branch)
1960 Elected Councillor of the Museum of Modern Art of Australia
1961 First Prize Italian Art Scholarship for Australian Chairman of the Federal
Council of the Contemporary Art Society of Australia.
1993-96 Artist in residence School of Law, Macquarie University, NSW
1998 MEMBRO ALBO DORO DEL SENATO ACCADEMICO – International
Academy of Modern Art, Rome, Italy
Bonython, K. Modern Australian painting and Sculpture, Griffin Press, Adelaide, 1960
Bonython, K. Modern Australian Painting 1960-1970, with introduction by Ross K. Luck, Rigby Limited, Adelaide, 1970
Boyd, Martin, Day of my Delight, Lansdowne Press Pty Ltd, Melbourne, 1965
Burr, James & Williams, Sheldon, Sfumato Paintings and Drawings of David Boyd (monograph). Ritchie Dickson Limited, London, 1967
Finlay, D. J. Modern Australian Painting, Beaverbrook Newspapers Limited, London, 1963
Hood, K., Pottery, Longmans, Melbourne, 1961
Luck, Ross K, The Australian Painters, 1964-66
The Mertz Collection, Griffin Press, Adelaide, 1966
Luck, Ross K., Modern Australian Painting, Sun Books, Melbourne, 1969
Parr, Lenton, Sculpture, Longmons, Melbourne, 1961
Pringle, J. D., Australian Painting Today, Thames & Hudson, London, 1963
Smith, Bernard, Australian Painting 1788-1960, and revised edition 1788-1970, Oxford University Press, 1962
Smith, Bernard, Australian Painting Today, University of Queensland Press, 1962
Osborne, Harold (ed.), The Oxford Companion to Art, Oxford University Press, 1970
Benko, Nancy, the Art of David Boyd (monograph), Hyde Park Press, Adelaide, 1973 (with fore ward by Judith Wright)
Craig, Edward D., Australian Art Auction Records 1973-75, Ure Smith, Sydney, 1975
Vader, John, the Pottery and Ceramics of David and Hermia Boyd, Mathews/Hutchinson, Sydney, 1977
Benezit, E., Dictionaire des Peintres, Sculpteurs, Librairie Grand Paris, 1976
Smith, Bernard, Catalogue, David Boyd Retrospective Exhibition, Commonwealth Institute, London, 1969
Marginson, Ray, Catalogue of the Melbourne University Art Collection, 1971
The Antipodean Manifesto, catalogue of Antipodean Exhibition, Melbourne, 1959
Recent Australian Painting, Whitechapel Gallery, 1961
Commonwealth Art Today, Commonwealth Institute, London, 1962
Craig, Edward D., Australian Art Auction Records 1976-1978, Rigby, 1979
Scarlett, Ken, Australian Sculptors, Nelson, 1980
Germaine, Max, Artists and Galleries of Australia and New Zealand, Lansdowne, 1979 & 1984
Craig, Edward D., Australian Art Auction Records, Currawong Press, New South Wales, 1982
Craig, Edward D., Australian Art Auction Records – Australian Art Sales, 1987-1989
Fry, Gavin & Gray, Anne, Masterpieces of the Australian War Memorial, Rigby, 1982
Dolan, David, Charles Bannon: Australian Printmaker: An Aspect of Australian art 1968-1982, Angus and Robertson
Smith, Bernard, The Critic as Advocate, Oxford, 1989
Dbrez, Patricia & Herbst, Peter, The Art of the Boyds, Bay Books, New South Wales, 1991
Craig, Edward D., ‘Australian Art Auctions Records 1989-1991’ Vol 7 Australian Art Sales, NSW, 1991
Merric Boyd Studio Potter 1888-1959 Victoria, Hammond, National Gallery of Victoria, Melbourne, 1990
von Bertouch, Anne, What Was It…, Hunnifords Lane Press, Newcastle, 1989-90
Arnold, John & Morris, Dierdre (eds.), Monash Biographical Dictionary of 20th Century Australia, Reed Reference Publishing, 1994
Furby, Paula & Snowden, Betty, The University of Adelaide Art Collections, University of Adelaide, S.A., 1995
Art and Law, vol. 20, no. 2, April 1995, Monash University, Victoria
From Vision to Sesquicentenary, The University of Sydney, 1999
Amadio, Nadine, Introduction to catalogue, Reconciliation, Eva Breuer Art Dealer, Sydney, 2001
Etching House specialise in David Boyd fine art, etchings and prints.
Australian War Memorial, Canberra
Queensland University, Brisbane
Art Gallery of South Australia, Adelaide
Ballarat Art Gallery, Ballarat, Victoria
Sydney University (Law Faculty), Sydney
Harold Mertz Collection of Australian Paintings, USA
Queensland Art Gallery, Brisbane
Lincolnshire and South Humberside Arts, Usher Gallery, Lincoln, England
Fine Arts Department, University of Melbourne
National Gallery of Australia, Canberra
Adelaide Art Teachers College, Adelaide, SA
Monash University, Melbourne
Law School, University of Melbourne
Newcastle Regional Art Gallery
University of New South Wales, Sydney
Sydney University Power Collection
Bendigo Art Gallery
Graylands College, Perth, Western Australia
National Gallery of Victoria
The University of Adelaide, South Australia
Macquarie University, Sydney, New South Wales
Bundanoon Trust, Nowra, New South Wales
Macquarie University, New South Wales
Art Gallery of New South Wales, Sydney
National Gallery of Victoria, Melbourne
Art Gallery Of Western Australia, Perth
Department of External Affairs, Canberra
Museum of Applied Arts and Science, Sydney
The Power House; National Gallery of Victoria, Melbourne
National Museum of Modern Art, Tokyo
Art Gallery of Western Australia, Perth
Staffordshire Museum, Stoke-on-Trent
Museum of Modern Art of Australia, Melbourne
Queensland Art Gallery, Brisbane
Art Gallery of New South Wales, Sydney
University of Western Australia, Perth
University of Queensland, Brisbane
David Boyd framed and unframed paintings etchings and limited edition fine art prints at Etching House. Etching House provides frames for your David Boyd works.
David Boyd Fine Art at Etching House Melbourne Affordable art fair may 2011.
David Boyd fine art comes with certificates of authenticity upon request at Etching House. David Boyd art is delivered by Woollahra Art Removals upon request.
David Boyd Colloblock at Etching House – this technique is a unique process, it starts with the selection of an original oil painting by David Boyd, this painting becomes the image and colour reference piece for the print to be made, as many as 6 to 7 separate handmade and very detailed wooden plates are created, the use of 60 or 70 different colours or combination of colours may be used, sometimes the artist David Boyd may deliberately change a colour during the process of making the edition as opposed to adhering to the original painting reference colours, in this case it’s because he feels it suits the Colloblock process and image better and therefore also making each print in the edition a work of art in its own right, one could assume.
Each hand carved plate starts by being hand drawn, then hand carved, there after each plate is coloured up with as many as 10 or 15 separate colours, they are strategically and most importantly hand painted in a sequence on the block, then this block is pressed on to rag archive paper, this process is repeated up to 6 or 7 times then up to 60 times to make the edition, the end result is it is a unique handmade print, when you think about it the process not dissimilar to how an artist may build a painting in the traditional way, this Colloblock is derived by the use of a complex process and in complete collaboration between the artist and specialist printer, these fine art works are a very labour intensive process. Again each one is subtle and uniquely different. Tim Storrier paints a one of work specifically for each Colloblock. David Boyd Colloblock prints at Etching House are titled Cressida and the Cat, Doris and Merrick the Whale and Jessamine, these David Boyd fine art limited edition Australian Prints are from 2006, 2007 and 2009.
Etching House has a range of David Boyd Colloblock prints, Etchings, Silkscreen and lithographic prints available, Etching House has available up to 12 months layby on 20% deposit.