This canvas, a smaller variant of Ornamentik (1981), was first documented at auction with Christie’s in 2004, when its authenticity was vouched for by Arkley author Ashley Crawford.

At the 2004 auction, it was oriented horizontally (like the other canvas mentioned), as shown here. When it appeared at auction again in 2020 and 2021, a vertical orientation was indicated, but there appears to be no particular basis for this; there are no inscriptions.

Thanks to Geoffrey Smith, Chairman, Smith & Singer, for clarifying aspects of the history of this work (email correspondence, October 2021).

Provenance

• P/C Melb. (from the artist c.1980, acc.to Christie’s 5/04)
• auctioned by Christie’s, Melb., 3-4 May 2004 (as ‘Untitled, c.1980’; as 120 x 199.4, ill.; est.$25-35,000; not sold)
• auctioned by Smith & Singer, Sydney, 18 Nov.2020, lot 46, as Ornamentik (1981), 200 x 120; ill.as shown here, but oriented vertically; est.$80-120,000; not sold)
• unknown owner (purchased from the above)
• auctioned by Christian McCann Auctions, Abbotsford, 21 March 2021, lot 164 (as Ornamentik 1981, 200 x 120); est.$100-150,000; not sold
• auctioned again by Christian McCann Auctions, 20 March 2022, lot 92: same details; est.$100-150,000; not sold
• auctioned by Bonham’s, Sydney, 29 Aug.2023, lot 30 (ill., same dets.as previous auction); est.$100-150,000; again unsold

Exhibited

• HA Yellamundie, Sydney, 12/23-3/24 (ill.)

Evidently another square canvas in the 1981 series, although this work does not appear to have been exhibited.

Listed with this title in a book of sales in Arkley’s archive as sold in Oct.1989 (details listed below); the sole photo source is an image also in the artist’s archive (no inscriptions).

Provenance

• sold via Niagara Galleries in Oct.1989 (price $7,000 less 33%): ‘now sent to W.A.’ (source: book of 1989 sales in Arkley archive)

The sole source is Arkley’s file slide (with process date Mar81); clearly in the same mould as the other square-format works dating from 1981, but it is uncertain whether this example was ever exhibited, and the details remain hazy.

Provenance

• unknown

Arkley’s file photos (including a slide with process date Mar81) are the sole source for this work, apparently in the same square format as the works shown at Tolarno 7/81 and Solander 10/81. However, this painting does not seem to have been exhibited, and there is no apparent record of it after c.1982 (when it appeared in studio photos also in Arkley’s files).

A file photo shows the work, oriented as shown here, hanging above black and white tiled flooring also visible in other studio photos dating from c.1981. Weaving (1981) [W/P] employs a somewhat similar pattern.

Provenance

• unknown

Shown in HA Tolarno 7/81 and Solander 10/81, and reproduced on the Tolarno invitation. This is a classic example of Arkley’s interest in the grid, a key theoretical focus of the period (see discussion in Carnival 64-5, citing Rosalind Krauss in particular).

In the audio-guide prepared for the 2006 Arkley retrospective, John Gregory commented on the use of optical illusion here to suggest depth, contradicting the flat patterned surface.

Provenance

• unknown

Exhibited

• HA Tolarno 7/81, cat.2
• HA Solander 10/81, cat.2
• HA Monash 1991, cat.37 (details as above)
• HA retrospective 2006-7 (shown at all 3 venues)

Literature

• Spray 38 (ill.: but oriented with top to left)
• NGVA Arkley audio-guide 2006 (comments as noted above)

First shown in HA Tolarno 7/81 (archive slide with process date Aug81, reproduced here), and then in both the 1991 Monash survey and the 2006-7 NGVA Arkley retrospective.

The work elaborates on the needlework/printing patterning already used for several earlier works, notably Printout Red/Blue 1980 (City of Glen Eira Collection, Melbourne) .

For further information regarding this canvas, which is not included in the Artbank book by Dysart & Dunn (2001), thanks to Carrie Kibbler, assistant curator of Artbank (correspondence April 2009).

Provenance

• purchased for Artbank from Tolarno in 1981

Exhibited

• HA Tolarno 7/81, cat.8
• HA Monash 1991, cat.36 (inscription details as above; as 161.5 cm square)
• HA retrospective 2006-7 (shown in Melbourne only)

This diptych may correspond to the pair of works shown as ‘Primitive Gold’ and ‘Primitive Silver’ at the Quentin Gallery in Perth in 1985 (see now the detailed entry on that exhibition: HA Quentin 2/85). However, it was first certainly recorded at auction with Sotheby’s in 1995 (see below).

In style and imagery, these canvases are obviously closely related to Primitive [mural] (1981) [W/P], Primitive Gold 1982 and Primitive Silver 1982.

Provenance

• P/C Brisbane (acc.to Sotheby’s 1995)
• auctioned by Sotheby’s, Melb., 28 Nov.1995 (suggesting inscribed date of 1989; est.$7-10,000; sold for $10,000 plus buyer’s premium)
• with Gould Galleries, Melb., c.2000?

Exhibited

• (possibly) HA Quentin, Perth, 2/85, cat.6-7 (priced at $2,000 together): see comments above
• MOMA at Heide, 11/01-2/02 (Buxton Coll.)
• HA TarraWarra 12/15-2/16

Literature

• Sotheby’s 11/95 auction cat. (with ill.)
• Crawford 2001 (Buxton coll.cat.), p.11 (also with ill.)

The curious pink skull/acorn pattern also appears in two other works: Untitled [Ornamentik variant] (1981?), and Untitled [‘Abstract’] 1981 [W/P].

Arkley’s files contain slides of the work (two with process date Oct81), and a Monash Visual Arts slide identifies it as the work shown at the 1981 McCaughey Prize. The slides indicate the horizontal orientation shown here.

Provenance

• unknown

Exhibited

• NGV, 8/81 (McCaughey Prize), cat.2: as 162 x 324 cm
• 1981 Capital Permanent Award, Geelong Art Gallery, late 1981-Jan.1982, cat.9

Arkley’s archive contains good slides of this work as photographed at both 1981 exhibitions (Tolarno 7/81 and Solander 10/81).

Vivid optical effects are clearly apparent when viewing the original work. The authors of Spray suggest that flywire doors inspired the patterning.

Provenance

• purchased by AGWA 1989

Exhibited

• HA Tolarno 7/81, cat.7
• HA Solander, Canberra, 10/81, cat.3
• HA Monash 1991, cat.35
• HA retrospective 2006-7 (shown in Melbourne only; details as above)

Literature

• Spray 37 (inc. ill.)
• Carnival 68 and Fig.2.15

This key painting is analysed in detail in both Spray, and Carnival, the latter analysing the intricacy of the optical effects in some detail, and noting the source as a book of Islamic patterns owned by Arkley.

The work figures prominently in installation photos from both 1981 exhibitions (Tolarno and Solander: Arkley archive) and HA Monash 1991 (Monash VA slides). Unfortunately, it could not be included in the 2006-7 Arkley retrospective because of reported damage.

Provenance

• purchased by AGWA 1989

Exhibited

• HA Tolarno 7/81, cat.6
• HA Solander, Canberra, 10/81, cat.5
• HA Monash 1991, cat.34 (details as above)

Literature

• Spray 35 (ill.) and 38
• Carnival 66-7 and Fig.2.13