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Howard Arkley Sold at Auction Prices

Painter, b. 1951 - d. 1999

Howard Arkley (5 May 1951 – 22 July 1999)[1] was an Australian artist, born in Melbourne, known for his airbrushed paintings of houses, architecture and suburbia. His mother's side of the family was Jewish and his father was German.


John Brack was Howard Arkley's first true inspiration and felt encouraged to continue with his art. After seeing an exhibition of works by Sidney Nolan, Arkley became very interested in art. Nolan's use of household materials inspired him and abstract artists such as Klee and Kandinsky also appealed to him. After discovering art, Arkley studied at Prahran College of Advanced Education from 1969 to 1972 where he discovered the airbrush, which he subsequently used in his paintings as he desired smooth surfaces.

He had his first exhibition, aged 24, at Tolarno Galleries, Melbourne, in 1975. Most of his early works were abstract, often depicting patterns or lines created with the airbrush. Arkley's works were first black and white, it was only later on that he began experimenting with colour. A turning point in Arkley's career was in 1981 when he created Primitive, a mural, which caught the attention of the public to his potential. In 1982 he painted a tram for the Victorian Ministry of the Arts.

One of his first pieces, "Le que", was noted in the Fine Arts Falls Collection in 1973.
Use of urban and suburban imagery

Between 1960 and 1990 he expanded in inventory of images and icons to include heads, portraits, masks and the urban and suburban imagery. Arkley returned from a trip from Europe where he had searched for inspiration. Upon walking home, he noticed the pattern of his front gate, he then ran around to all his neighbours gates using them as inspiration in his later artworks. Arkley's inspiration was taken from the patterns, colours and forms (gates, doors etc.) found in Australian suburbia. Strong visual effects such as colour, bold forms and brash designs derived from advertising were also evident in his works. Arkley was also known for being the first ever man to create a painting with his feet.

Influenced by, Arkley made use of handmade stencils and other household objects created such as perforated plastic laundry baskets and fly screen doors to achieve the richly textured patterns. Arkley collaborated with Juan Davila for an exhibition called Blue Chip Instant Decorator in 1991, at Tolarno Galleries in South Yarra. His exhibition called Fabricated Rooms with a 15-metre multipaneled series, was on display at the Art Gallery of New South Wales between 1998 and 1999. This image depicted of multiple rooms in a family home which were brightly colored and patterned.

His work was shown at the 1998 Biennale of Sydney, as well as international shows in Korea, Singapore and Germany.

He painted a colourful airbrushed portrait of musician Nick Cave in 1999 which is in the Collection of the National Portrait Gallery.
Final exhibition

Arkley opened his final exhibition at the 1999 Venice Biennale, then travelled to London to plan an album cover for Nick Cave. Following London, he flew to Los Angeles, where his exhibition at the Karen Lovegrove Gallery was a sell-out.[2] They then drove to Las Vegas where he married his partner Alison Burton on 15 July.[2] (It was his third marriage; he had previously been married to Elizabeth Gower and Christine Johnston.)[3] They returned to Melbourne on 19 July, and on 22 July 1999 he died of an accidental heroin overdose.[4]

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        • HOWARD ARKLEY, TULIPS AND SPOTTED VASE, 1986
          Nov. 26, 2024

          HOWARD ARKLEY, TULIPS AND SPOTTED VASE, 1986

          Est: $180,000 - $240,000

          HOWARD ARKLEY (1951 - 1999) TULIPS AND SPOTTED VASE, 1986 synthetic polymer paint on canvas 161.0 x 120.0 cm signed, dated and inscribed with title verso: Tulips and Spotted Vase / 1986 / Howard Arkley PROVENANCE Tolarno Galleries, Melbourne Private collection, Melbourne, acquired from the above in 1986 Tolarno Galleries, Melbourne Private collection, Melbourne, acquired from the above in May 1995 EXHIBITED Howard Arkley: Recent Paintings, Tolarno Galleries, Melbourne, 20 September – 8 October 1986, cat. 6 Downtown: Ruscha, Rooney, Arkley, Museum of Modern Art at Heide, Melbourne, 14 March – 14 May 1995 LITERATURE Engberg, J., Downtown: Ruscha, Rooney, Arkley, Museum of Modern Art at Heide, Melbourne, 1995, pp. 51 (illus.), 58 Crawford, A., and Edgar, R., Spray: The Work of Howard Arkley, Craftsman House, Sydney, revised edition, 2001, pp. 83 (illus.), 148 (dated '1987') Howard Arkley Online Catalogue Raisonné:[https://www.arkleyworks.com/blog/2009/11/18/tulips-and-spotted-vase-1986/] (accessed 10 October 2024) ESSAY After producing few canvases in 1984 and 1985 – instead working primarily on paper, and in his sketchbooks and diaries – Howard Arkley returned to painting with gusto in 1986.1 His solo exhibition of that year, Howard Arkley: Recent Paintings at Melbourne’s Tolarno Galleries, was an exuberant demonstration of the artist in form, showcasing a strong sampling of characteristic Arkley subjects ranging from suburban houses, skyscrapers and interiors to the artist’s funky, cacti-inspired abstractions. However, the lively compositions and high-keyed colour of most of the works in the exhibition were also tempered by the subject matter and mood of paintings such as The Ritual, 1986 – which depicted a figure about to insert a needle into an extended, tourniqueted arm – Speeding, 1986, and Nubrick, 1986, the latter of which conveyed a darker, slightly sinister atmosphere, despite its setting in a suburban street. As one of only two still life paintings within the exhibition, and the most commanding, Tulips and Spotted Vase, 1986 sat thematically between these two extremes, marrying the joy and exuberance of the artist’s use of decoration and strong blocks of colour with the work’s subject matter and nod to the vanitas tradition. No doubt aware of the rich symbolism of still life painting in art history, Arkley’s placement of the open, drooping tulip in the foreground of the image serves as a subtle reminder to the viewer of the transience of both beauty and life. Sadly, given the artist’s premature death from a drug overdose at the age of 48, it is hard not to see the quiet message within this buoyant painting as somewhat prophetic. Given Arkley’s well-known love of decoration and ornamentation, Tulips and Spotted Vase is a relatively restrained painting, with the vase itself the only ‘decorated’ part of the composition. However, together the vase and flowers form the kind of decoration that was readily accepted in the interiors of the suburban houses that were to increasingly feature in his paintings from this time. Arkley painted his first house painting in 1983 and remained enchanted by this symbol of the suburban dream until his death in 1999. Having grown up in the Melbourne suburb of Surrey Hills, he realised he was speaking to the lived experience of most Australians, and that the classic ‘brick veneer on a quarter-acre block’ provided him with the creative potential to endlessly combine and experiment with both pattern and form, figuration and abstraction. As he enthused in an interview for ABC TV in 1999: ‘Ordinary houses are filled with pattern. You go into a house where there is no art, no paintings, but it is filled with kind of second-degree imagery. The patterning around the fireplace, the carpet, and the different brick on the different houses, and the pattern between the gutter, the nature strip, the footpath; then you have the fence, then you have the green lawn, then you have house, then you have the tiles, then you have the blue sky… and I missed the bushes in between. It’s rich.’2 Arkley’s work has been compared to American and British Pop artists Roy Lichtenstein (1923 – 1997) and Patrick Caulfield (1936 – 2005), whose practice shared a penchant for areas of bold flat colour and the depiction of everyday utilitarian objects such as vases, bowls and jugs. While he undoubtedly knew and drew inspiration from their art, Arkley’s oeuvre however, is clearly differentiated by its love and use of pattern – which he initially created by incorporating wallpaper into his interiors3, and later, through the use of stencils – and especially, by his use and command of the airbrush. Arkley was first introduced to the airbrush by his art schoolteacher, Fred Cress, and by the time Tulips and Spotted Vase was created, it was clearly in his command (each line required several coats to ensure both the thickness and dense pigmentation that the artist achieves).4 For him, the combination of black outline and flat surface helped to establish a sense of his images as being at one in both the making (‘… I thought it was a pretty interesting kind of medium – that you could make marks without actually touching the canvas’5), and viewing; as if his paintings were experienced in reproduction rather than real life. As he noted: ‘I wanted my work to look like a reproduction of a painting, not be a painting. I want it to look like it was a slide or a book. I want it to look like the paintings that educated me, and I saw them in reproduction in books and magazines and slides etc. I didn’t want any great big globules of paint running down, because in a book they don’t have that – they’re nice and flat and shiny.’6 1. Gregory, J., Arkley Works, see: https://www.arkleyworks.com/blog/2009/11/18/1986/ (accessed 24 October 2024) 2. Wyzenbeek, A. (dir.), Howard’s Way, 1999, ABC TV Arts, see excerpt at https://www.youtube.com/watch?v=YByGawnhx7E (accessed 24 October 2024) 3. See Howard Arkley, Still Life, 1986 that was also in the 1986 Tolarno Galleries at https://www.arkleyworks.com/blog/2009/11/18/1986/ (accessed 24 October) and Howard Arkley, Suburban Interior, 1983, Heide Museum of Modern Art, Melbourne at https://collection.heide.com.au/objects/719/suburban-interior (accessed 25 October 2024) 4. ‘Constanze Zikos, Artist and Friend of Howard Arkley Speaking to Howard Arkley and Friends Exhibition Co-Curator Victoria Lynn’, TarraWarra Museum of Art, 6 February 2016, see: https://www.facebook.com/TarraWarraMA/videos/constanze-zikos-artist-and-friend-of-howardarkley-speaking-to-howardarkleyandfri/10156517388820385/ (accessed 24 October 2024) 5. Howard Arkley, cited in Wyzenbeek, op. cit. 6. ibid. KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY, (1951-1999), Superb and Solid, decorative print after the original, 45 x 68 cm. (17.7 x 26.7 in.), frame: 69 x 92 x 2 cm. (27.1 x 36.2 x 0.7 in.)
          Nov. 20, 2024

          HOWARD ARKLEY, (1951-1999), Superb and Solid, decorative print after the original, 45 x 68 cm. (17.7 x 26.7 in.), frame: 69 x 92 x 2 cm. (27.1 x 36.2 x 0.7 in.)

          Est: $200 - $300

          HOWARD ARKLEY (1951-1999) Superb and Solid decorative print after the original gallery frame

          Lawsons
        • HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 33/499 69 x 53.5cm (image); 75 x 59.5cm (sheet); 93 x 77cm (frame)
          Nov. 13, 2024

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 33/499 69 x 53.5cm (image); 75 x 59.5cm (sheet); 93 x 77cm (frame)

          Est: $2,500 - $3,500

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 33/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 69 x 53.5cm (image); 75 x 59.5cm (sheet); 93 x 77cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne Private collection, Melbourne OTHER NOTES: "Howard Arkley and Nick Cave moved in overlapping circles in Melbourne in the late 1970s. One of the first two works commissioned by the Portrait Gallery, Arkley's painting of Cave was one of the last the artist completed before his death at the peak of his career. The portrait captures the punk mentality and attitude of both artist and sitter in Arkley's immaculately-finished, psychedelic and incandescent airbrush style." (National Portrait Gallery, Canberra) RELATED WORK: Howard Arkley, Nick Cave 1999, synthetic polymer paint on canvas, 175.2 x 135.2cm, the collection of the National Portrait Gallery, Canberra. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 6/499 93 x 73cm (image); 103 x 82.5cm (sheet); 122 x 99cm...
          Nov. 13, 2024

          HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 6/499 93 x 73cm (image); 103 x 82.5cm (sheet); 122 x 99cm...

          Est: $3,000 - $4,000

          HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 6/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93 x 73cm (image); 103 x 82.5cm (sheet); 122 x 99cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, Deluxe Setting 1992, synthetic polymer paint on canvas, 173 x 135cm, Menzies, Melbourne, 27 June 2019, lot 32 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Triple Fronted 1987 archival pigment print, ed. 140/499 93 x 134cm (image); 103 x 144cm (sheet); 126 x 166...
          Nov. 13, 2024

          HOWARD ARKLEY (1951-1999) Triple Fronted 1987 archival pigment print, ed. 140/499 93 x 134cm (image); 103 x 144cm (sheet); 126 x 166...

          Est: $4,000 - $6,000

          HOWARD ARKLEY (1951-1999) Triple Fronted 1987 archival pigment print, ed. 140/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93 x 134cm (image); 103 x 144cm (sheet); 126 x 166cm (frame) PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, Triple Fronted 1987, synthetic polymer paint on canvas, 166.4 x 238.4cm, the collection of the Art Gallery of New South Wales, Sydney © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • Howard Arkley (1951-1999), Acrylic on canvas, major work, Home 1987, signed & inscribed Verso 240 x 166 cm.
          Nov. 13, 2024

          Howard Arkley (1951-1999), Acrylic on canvas, major work, Home 1987, signed & inscribed Verso 240 x 166 cm.

          Est: $80,000 - $120,000

          Howard Arkley (1951-1999), Acrylic on canvas, major work, Home 1987, signed & inscribed Verso 240 x 166 cm. Provenance. Nancy Long, Melbourne (purchased from Artist) : Arno Philips, Melbourne, Private collection, Melbourne (Documentation available on request)

          Woodlands Auctions
        • HOWARD ARKLEY (1951-1999), Untitled (White Painting), circa 1988
          Oct. 27, 2024

          HOWARD ARKLEY (1951-1999), Untitled (White Painting), circa 1988

          Est: $15,000 - $25,000

          HOWARD ARKLEY (1951-1999) Untitled (White Painting), circa 1988 synthetic polymer paint and ink on paper (two sheets) 169.5 x 120cm PROVENANCES Deutscher~Menzies, Melbourne, Australian and International Art, 4 June 2003, Lot 168 (as 'Abstract, circa 1974') Private Collection, Melbourne EXHIBITED ‘Howard Arkley – Casual Works: Working Drawings, Source Material, Doodles 1974-1987', 200 Gertrude Street, Fitzroy, 5 - 28 May 1988; and Institute of Modern Art, Brisbane, 6 - 29 October 1988 REFERENCES Howard Arkley Online Catalogue Raisonne: [https://www.arkleyworks.com/blog/2009/11/24/untitled-‘white-painting'-and-source-material-1988-and-earlier-wp/] (accessed 30/09/24) © The Estate of Howard Arkley, Licenced by Kalli Rolfe Contemporary Art

          Gibson's
        • HOWARD ARKLEY (1951-1999), Untitled Head (#5) 1998
          Oct. 27, 2024

          HOWARD ARKLEY (1951-1999), Untitled Head (#5) 1998

          Est: $12,000 - $16,000

          HOWARD ARKLEY (1951-1999) Untitled Head (#5) 1998 synthetic polymer paint on paper signed and dated lower right: Howard Arkley 98 76 x 56cm PROVENANCE Barry Sherman Galleries, Sydney Private Collection, Melbourne Leonard Joel, Melbourne, Fine Art Auction, 3 December 2013, Lot 81 Private Collection, Melbourne EXHIBITED (possibly) Howard Arkley: Exhibition and Sale of 40 Paintings, Metro 5 Gallery, Melbourne, 6 - 24 February 2002 REFERENCES Howard Arkley Online Catalogue Raisonne: [https://www.arkleyworks.com/blog/2021/10/09/untitled-head-5-1998-w-p/] (accessed 30/09/24) © The Estate of Howard Arkley, Licenced by Kalli Rolfe Contemporary Art

          Gibson's
        • HOWARD ARKLEY (1951-1999), Untitled Head (#6) 1998
          Oct. 27, 2024

          HOWARD ARKLEY (1951-1999), Untitled Head (#6) 1998

          Est: $12,000 - $16,000

          HOWARD ARKLEY (1951-1999) Untitled Head (#6) 1998 synthetic polymer paint on paper signed and dated lower right: Howard Arkley 98 76 x 56cm PROVENANCE Barry Sherman Galleries, Melbourne Private Collection, Melbourne Leonard Joel, Melbourne, Fine Art Auction, 3 December 2013, Lot 82 Private Collection, Melbourne EXHIBITED (possibly) Howard Arkley: Exhibition and Sale of 40 Paintings, Metro 5 Gallery, Melbourne, 6 - 24 February 2002 REFERENCES Howard Arkley Online Catalogue Raisonne: [https://www.arkleyworks.com/blog/2021/10/09/untitled-head-6-1998-w-p/] (accessed 30/09/24) © The Estate of Howard Arkley, Licenced by Kalli Rolfe Contemporary Art

          Gibson's
        • Ltd Edition Howard Arkley (1951-1999)- Triple Fronted Brick Veneert Archivial pigment print
          Sep. 01, 2024

          Ltd Edition Howard Arkley (1951-1999)- Triple Fronted Brick Veneert Archivial pigment print

          Est: $2,500 - $3,000

          Howard Arkley (1951-1999)- Triple Fronted Brick Veneer, archival pigment print, edition 17/20, 91x117cm, facsimile signature lower right

          Kim's Auction
        • Howard Arkley (1951-1999) Cartographer (after Durer), 1983
          Aug. 27, 2024

          Howard Arkley (1951-1999) Cartographer (after Durer), 1983

          Est: $80,000 - $120,000

          Howard Arkley (1951-1999) Cartographer (after Durer), 1983 signed, dated and titled verso: 'HOWARD ARKLEY / title Cartographer / (after Durer) / 1983 / Acrylic on canvas / 120cm x 160cm / Howard Arkley. 83.' synthetic polymer paint on printed map on canvas 160.0 x 120.0cm (63 x 47 1/4in).

          Bonhams
        • Howard Arkley- Zappo Mask, screen print 2/20, 37x28cm, signed lower centre
          Aug. 25, 2024

          Howard Arkley- Zappo Mask, screen print 2/20, 37x28cm, signed lower centre

          Est: $1,000 - $1,500

          Howard Arkley- Zappo Mask, screen print 2/20, 37x28cm, signed lower centre

          Christian McCann Auctions
        • Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm. Provenance.
          Aug. 07, 2024

          Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm. Provenance.

          Est: $100,000 - $200,000

          Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm. Provenance. Current vendor purchased this from Arno Phillips (cash for anything pawnbrokers) in 2003. It was pawned by Alfred Dow Long, friend of Howard Arkley in 1995 but never collected. This pawnbroker had this customer & Brother pawn many art items & antiques over the years as well as Howard Arkley himself. No mention of this painting is made in Arkleyworks & it is not catalogued. Provenance is gauranteed as far back as 1995. Buyers must satisfy themselves as to authenticity of this artwork. There is no garauntee of provenance before 1995 apart from the connection of Alfred Long to the artist.

          Woodlands Auctions
        • Howard Arkley. Triple Fronted Brick Veneer
          Jul. 28, 2024

          Howard Arkley. Triple Fronted Brick Veneer

          Est: $3,500 - $5,000

          Limited Edition Screenprint, edition 17/20. Signed lower left, titled lower centre. Print Dimensions: 91 x 117 cm. Frame Dimensions: 104 x 128 cm.

          Phillip Caldwell Auctioneers
        • HOWARD ARKLEY - ANAMORPHISM 1987 - ACRYLIC ON PAPER
          May. 21, 2024

          HOWARD ARKLEY - ANAMORPHISM 1987 - ACRYLIC ON PAPER

          Est: $18,000 - $25,000

          HOWARD ARKLEY (1951-1999) ANAMORPHISM 1987 Signed and dated 87 lower right Acrylic on paper 75 x 55cm Estimate $18,000/25,000 AUD

          GFL Fine Art
        • HOWARD ARKLEY (1951-1999) Tudor Village B/W 1994 synthetic polymer paint on canvas 165 x 123cm
          May. 20, 2024

          HOWARD ARKLEY (1951-1999) Tudor Village B/W 1994 synthetic polymer paint on canvas 165 x 123cm

          Est: $150,000 - $200,000

          HOWARD ARKLEY (1951-1999) Tudor Village B/W 1994 synthetic polymer paint on canvas signed, titled, dated and inscribed verso: Title "Tudor Village B/W"/ Name Howard Arkley/ Medium Acrylic on Canvas/ size 1230cm X 1650cm 165 x 123cm PROVENANCE: Bellas Gallery, Brisbane 1994 (listed thus in Arkley's 1993-6 stock-book) The Artist's collection Private collection, Melbourne Kalli Rolfe Contemporary, Melbourne Private collection Deutscher~Menzies, Sydney, 12 September 2007, lot 28 (listed as Tudor Village c.1986) Private collection, Melbourne EXHIBITIONS: Howard Arkley: "Black and White Paintings" and Works on Paper, Bellas Gallery, Brisbane, 24 May - 11 June 1994, cat. no. 5 LITERATURE: Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonné, (https://www.arkleyworks.com/blog/2009/12/14/tudor-village-bw-1994/) OTHER NOTES: RELATED WORK: Howard Arkley, Model Tudor Village, Fitzroy Gardens 1986, synthetic polymer paint on canvas, 162.5 x 162cm, private collection Tudor Village B/W 1994 is a key example of a subject only occasionally addressed by Howard Arkley, but one that still summarises many of his formal and thematic concerns. These include direct reference to some of his favourite comic-book and children's picture-book sources, and the discipline of a severely restricted monochrome palette. Above all, the subject seems to deliberately undercut the suburban theme dominating his later oeuvre. (1) The canvas first appeared in May - June 1994, in a solo exhibition at Bellas Gallery, Brisbane, comprising 19 works on canvas and paper, all black and white, thus prefiguring Arkley's White + Black: 20 Years Work on Paper and Canvas, 1975-1995 at Tolarno Galleries, Melbourne, in September 1995. Like several other works in the Brisbane exhibition, Tudor Village B/W also incorporates stencilled areas suggesting printed or metallic sources, a notable feature of Arkley's 1990s work. Even before his premature death in July 1999, aged 48, Arkley had become typecast as "the painter of suburbia." A role he had adopted temporarily in the 1980s, it struck a chord with critics and viewers tired of the usual gallery fare - landscapes (of course), abstracts, and obscure conceptual gestures. And so, despite his own best efforts, he had become saddled with the part. Admittedly, he did sometimes play up to the idea in interviews, and the volume of his suburban images ballooned as the 1990s progressed. But throughout his last decade he kept exploring different themes and ideas - urban subjects including factories and freeways, stylised heads, and collaborative work, especially with Juan Davila. His stylistic range also developed significantly during the second half of his career, often including intricate stencilled patterns (overlaid or in variegated colours), a softer palette, and air-brushed line-work in grey and other hues, rather than his trademark black. Large open fields of colour became a feature of some 1990s works, especially the large-scale freeways, and his magnum opus, Fabricated Rooms 1997-99. In Homezone 1999 he revisited his earlier furniture installations, but in a highly reduced formal manner. In the mid 1990s, he also reprised his youthful taste for a strict monochrome palette, as in Tudor Village B/W. Another strategy Arkley used to vary and extend his repertoire during his final decade and a half, often specifically to complicate the suburban theme, was to loosen the uniformity of some solo exhibitions by including alternate or contradictory images. For example, in his Pointillist Suburbs show at Tolarno late in 1994, the intricately patterned houses were counterpointed by two large freeway canvases, their sweeping lines and broad fields of blue and green signalling a completely different idea of the modern city. An earlier instance occurred in 1986, in Arkley's Recent Paintings exhibition at Tolarno (September - October 1986). Here, Tudor Village, a large, square, vividly coloured canvas, contrasted markedly with the general urban/suburban content of the other paintings. On the one hand, its Grimm's fairy-tale imagery struck a fanciful note. Conversely, though, its heavy black shadows hinted at more sinister forces, also lurking in the Australian suburban houses depicted elsewhere in the Tolarno show, especially in the dark recesses of brick, foliage and asphalt in Our Home and Nubrick. For all its bright colour, then, Tudor Village played a subversive role in the Tolarno exhibition, almost that of an anti-suburban image. The 1986 painting was first exhibited a few months earlier, together with a black and white twin, in a collaborative installation forming part of a show pairing artists and architects (5AR: Artists and Architects, George Paton Gallery).(2) Arkley took his cue from the miniature Tudor Village in the Fitzroy Gardens, donated to Melbourne by England in 1948, in thanks for Australian generosity after the London Blitz. Despite the scorn heaped on "Mock Tudor" by fans of architectural modernism such as Robin Boyd, the Fitzroy Gardens Village proved popular with Melbournian families, and was later fully restored and reopened in 2008. Arkley visited the quaint collection of 1:20 scale Tudor houses on the recommendation of his 1986 architect collaborator, Howard Raggatt (who had been there with his family), and later, in remarks quoted in Spray: The Work of Howard Arkley (1997), recalled his experience: "I went to see the thing in a taxi at three in the morning It was very windy, and I became aware that there were people in the bushes. It was very gothic. So I tore out of there and when I got out I realised that was how the painting should be - black and white, with dramatic lighting."(3) Subsequent variants of the Tudor theme included two relatively benign 1987 canvases in toy-town hues, reflecting the source, apparently from a children's colouring-book. But in his 1988 Casual Works exhibition, Arkley showed another black and white version, and associated sources and sketches, including an outline drawing (now in State Library Victoria's Howard Arkley Archive, MS 14217/1/1777). This composition, the basis for the original monochrome painting of 1986, reappears - in more concentrated form - in Tudor Village B/W, and also in a closely related work-on-paper version, also monochrome (Collection of the National Gallery of Australia, Canberra), included in Arkley's 1995 White + Black exhibition. In this last example, the darkest of all, heavily sprayed black clouds add to the atmosphere of gathering gloom. Arkley's response to the Fitzroy Gardens site as "gothic" is particularly interesting in relation to alternative readings of his oeuvre, especially that of his friend and colleague Tony Clark. In his catalogue essay for the 1991 Monash University survey, Clark described Arkley as a "contemporary goth"(4), noting his references to Dürer, medieval art, and so on. Also relevant here is the emergence of "New Gothic Art" in the 2000s, exemplified locally by the spooky work of David Noonan. Finally, Arkley's insights into the darker aspects of both urban and suburban life should also be mentioned, bringing to mind the Freudian notion of the "uncanny" (Unheimlich: literally, "un-homely"). Tudor Village B/W is a classic example of the work of this "other" Arkley, no mere chronicler of the 'burbs, but a thoughtful artist, finely attuned to both the light and darkness of the modern world. Dr. John Gregory (1) Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006 (2) Austin, V., (Ed.) 5AR: Artists and Architects '86 (Special Catalogue Issue of Transition No. 17), Melbourne, George Paton Gallery, 1986 (3) Crawford, A. and Edgar, R., Spray: The work of Howard Arkley, Craftsman House, Sydney, 1997, p. 89 (4) Duncan, J., (Ed.), and Clark, T., "Howard Arkley", HA: Howard Arkley, Monash University Gallery, 1991 pp. 5-6 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • Howard Arkley- Triple Fronted Brick Veneer, screenprint, 7/100, 38x54cm, signed lower right
          May. 08, 2024

          Howard Arkley- Triple Fronted Brick Veneer, screenprint, 7/100, 38x54cm, signed lower right

          Est: $1,000 - $1,200

          Howard Arkley- Triple Fronted Brick Veneer, screenprint, 7/100, 38x54cm, signed lower right

          Christian McCann Auctions
        • Howard Arkley- Triple Fronted Brick Veneer, screenprint, 9/100, 38x54cm, signed lower right
          May. 08, 2024

          Howard Arkley- Triple Fronted Brick Veneer, screenprint, 9/100, 38x54cm, signed lower right

          Est: $1,000 - $1,400

          Howard Arkley- Triple Fronted Brick Veneer, screenprint, 9/100, 38x54cm, signed lower right

          Christian McCann Auctions
        • HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych 163 x 1...
          Apr. 10, 2024

          HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych 163 x 1...

          Est: $35,000 - $40,000

          HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1991-92 screenprint, ed. P/P III/III diptych signed and editioned upper left: P/P III/III Juan Davila initialled and dated within image lower left: HA. 91. initialled and dated within image lower right: Davila 92. titled upper right within image 163 x 108cm (each, sheet); 163 x 216cm (overall) PROVENANCE: The Estate of Larry Rawling, Melbourne EXHIBITIONS: You Are Here, Institute of Modern Art, Brisbane, 5 - 28 November 1992 (another example) You Are Here, Australian Centre for Contemporary Art, Melbourne, 4 March - 4 April 1993 (another example) Icon Interior, Kalli Rolfe Contemporary Art, Australian National University Drill Hall Gallery, Canberra, 2001 (another example) Heide Museum of Modern Art, Melbourne, 24 November 2001 - 17 February 2002, cat. no. 17 (another example) Juan Davila, Prints and Drawings 1980s - 2005, Kalli Rolfe Contemporary Art, Melbourne, 2005 (another example) Juan Davila and Howard Arkley: Masters of Contemporary Collaboration, Benalla Art Gallery, Victoria, 1 October - 20 November 2011 (another example) LITERATURE: Gregory, J., Howard Arkley and Juan Davila: Icon Interior 1994-2001, Kalli Rolfe Contemporary Art, Melbourne, 2001, p. 5 (another example) Crawford, A., A Person Looks at a Work of Art...: The Michael Buxton Contemporary Australian Art Collection, Heide Museum of Modern Art, Melbourne, cat. no. 17 (illus., another example) Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, cat. no. 5.12, p.149 (illus. p.152, another example) Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2009/12/08/interior-with-built-in-bar-1992-wp-howard-arkley-juan-davila/ (illus., another example) OTHER NOTES: Other examples of this print are held in the collections of the Benalla Art Gallery, Victoria; Buxton Contemporary, Melbourne; and National Gallery of Australia, Canberra. RELATED WORK: Howard Arkley and Juan Davila, Interior with Built-in-Bar 1992, gouache on paper with silkscreen detailing, diptych, 159 x 216cm (sheet, overall), Leonard Joel, Melbourne, 9 May 2022, lot 20. Juan Davila and Howard Arkley cultivated a substantial collaborative alliance that developed over an extended period, resulting in the collaboration of three-dimensional installations, screenprints, paintings, and works on paper. The production of Interior with Built-in-Bar in 1992 marked a significant creation that signified a pivotal shift in their partnership dynamics. The collaborations between Howard Arkley and Juan Davila have left a profound imprint on the landscape of Australian art history, showcasing the potential of artistic partnerships that have long been overlooked until more recent times. By 1992, Juan Davila had established himself with politically charged paintings, contrasting Howard Arkley's focus on domestic interiors. While their aesthetic approaches differed - Arkley favoured a cleaner style often employing appropriation, while Davila's work leaned towards gestural expression and social commentary - their collaboration was market by a mutual exploration of each other's artistic realms. Although Arkley had prior experience as a collaborator, Davila embraced this new terrain, pushing boundaries and challenging each other's perspectives while maintaining a harmonious creative process. Their first major joint installation, Blue Chip Instant Decorator: A Room, debuted at Tolarno Galleries in 1991, followed by the creation of Interior with Built-in-Bar in 1992. This work exemplified a seamless fusion of their distinct styles, with Davila's vision of interior spaces melding with Arkley's perspective. Notably, Interior with Built-in-Bar deftly blurs the lines of authorship, showcasing a balanced interplay between the two artists. Interior with Built-in-Bar 1992 represented the last collaboration between Arkley and Davila, completed by Davila after Arkley's death. Rather than focusing on individual contributions, the emphasis lies on how their collaboration transcended ego, leveraging each other's strengths and limitations to create a cohesive artistic expression. Hannah Ryan Prints & Multiples Specialist © The Estate of Howard Arkley and Juan Davila, Courtesy Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999), Lattice 1981
          Mar. 27, 2024

          HOWARD ARKLEY (1951-1999), Lattice 1981

          Est: $15,000 - $20,000

          HOWARD ARKLEY (1951-1999) Lattice 1981 synthetic polymer paint on paper 61.5 x 87.0 cm; 71.5 x 94.0 cm (framed) signed and dated lower right: Howard Arkley 81 signed, dated and inscribed verso: TOP/ Howard Arkley 81 PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE

          Menzies
        • HOWARD ARKLEY (1951-1999), Red Wedge 1981
          Mar. 27, 2024

          HOWARD ARKLEY (1951-1999), Red Wedge 1981

          Est: $12,000 - $18,000

          PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE HOWARD ARKLEY (1951-1999) Red Wedge 1981 synthetic polymer paint on paper 68.0 x 96.0 cm; 76.5 x 104.0 cm (framed) signed and dated lower right: Howard Arkley 81 signed, dated and inscribed verso: title: Drawing for a Carpet 81 (April)/ Howard Arkley

          Menzies
        • Howard Arkley, watercolour of photocopy, Triple front veneer house, marked Idea-watercolouring 28 x 37 cm
          Mar. 27, 2024

          Howard Arkley, watercolour of photocopy, Triple front veneer house, marked Idea-watercolouring 28 x 37 cm

          Est: $300 - $400

          Howard Arkley, watercolour of photocopy, Triple front veneer house, marked Idea-watercolouring 28 x 37 cm

          Woodlands Auctions
        • Howard Arkley ( 1951-1999)- Triple Fronted Brick Veneer, giclee print 26/50
          Mar. 23, 2024

          Howard Arkley ( 1951-1999)- Triple Fronted Brick Veneer, giclee print 26/50

          Est: $2,500 - $3,500

          Howard Arkley ( 1951-1999)- Triple Fronted Brick Veneer, giclee print 26/50

          Kim's Auction
        • Howard Arkley ( 1951-1999)- Zappo Head, hand coloured screenprint
          Mar. 23, 2024

          Howard Arkley ( 1951-1999)- Zappo Head, hand coloured screenprint

          Est: $2,500 - $3,500

          Howard Arkley ( 1951-1999)- Zappo Head, hand coloured screenprint, 41x29cm signed lower right

          Kim's Auction
        • Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm
          Mar. 13, 2024

          Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm

          Est: $300,000 - $500,000

          Howard Arkley, Acrylic on canvas, major work, Home 1987, signed Verso 240 x 166 cm. Provenance. Current vendor purchased this from Arno Phillips (cash for anything pawnbrokers) in 2003. It was pawned by Alfred Dow Long, friend of Howard Arkley in 1995 but never collected. This pawnbroker had this customer & Brother pawn many art items & antiques over the years as well as Howard Arkley himself. No mention of this painting is made in Arkleyworks & it is not catalogued. Provenance is gauranteed as far back as 1995. Buyers must satisfy themselves as to authenticity of this artwork. There is no garauntee of provenance before 1995 apart from the connection of Alfred Long to the artist.

          Woodlands Auctions
        • HOWARD ARKLEY, 1951-1999, Zappo Head, hand coloured silkscreen, 40x30cm
          Mar. 10, 2024

          HOWARD ARKLEY, 1951-1999, Zappo Head, hand coloured silkscreen, 40x30cm

          Est: $2,000 - $3,000

          HOWARD ARKLEY 1951-1999 Zappo Head hand coloured silkscreen signed lower right

          Lawsons
        • HOWARD ARKLEY, Australian 1951-1999, Nick Cave, 1999, archival pigment print, ed. 36/499, 93.5 x 72 cm (frame: 109 x 87 x 4 cm)
          Feb. 21, 2024

          HOWARD ARKLEY, Australian 1951-1999, Nick Cave, 1999, archival pigment print, ed. 36/499, 93.5 x 72 cm (frame: 109 x 87 x 4 cm)

          Est: $6,000 - $8,000

          HOWARD ARKLEY Australian, 1951-1999 Nick Cave, 1999 archival pigment print, ed. 36/499 facsimile lower right; artist's blindstamp lower left; certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne.

          Lawsons
        • Howard Arkley, Artists proof, Zappo head, signed in pencil
          Feb. 14, 2024

          Howard Arkley, Artists proof, Zappo head, signed in pencil

          Est: $300 - $400

          Howard Arkley, Artists proof, Zappo head, signed in pencil

          Woodlands Auctions
        • HOWARD ARKLEY ( 1951-1999) - Triple Fronted Brick Veneer giclee print 8/100 38x54cm
          Feb. 11, 2024

          HOWARD ARKLEY ( 1951-1999) - Triple Fronted Brick Veneer giclee print 8/100 38x54cm

          Est: $1,000 - $2,000

          HOWARD ARKLEY ( 1951-1999) Triple Fronted Brick Veneer giclee print 8/100 38x54cm signed lower right

          Lawsons
        • Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, giclee print 30/50, 38x54cm, facsimile signed lower right.
          Jan. 21, 2024

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, giclee print 30/50, 38x54cm, facsimile signed lower right.

          Est: $2,000 - $3,000

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, giclee print 30/50, 38x54cm, facsimile signed lower right.

          Christian McCann Auctions
        • Howard Arkley (1951-1999) - Zappo Mask, Hand coloured screenprint 6/20, 39x28cm, signed lower right.
          Jan. 21, 2024

          Howard Arkley (1951-1999) - Zappo Mask, Hand coloured screenprint 6/20, 39x28cm, signed lower right.

          Est: $1,000 - $1,500

          Howard Arkley (1951-1999) - Zappo Mask, Hand coloured screenprint 6/20, 39x28cm, signed lower right.

          Christian McCann Auctions
        • HOWARD ARKLEY (1951-1999) "TRIPLE FRONTED BRICK VENEER"
          Dec. 10, 2023

          HOWARD ARKLEY (1951-1999) "TRIPLE FRONTED BRICK VENEER"

          Est: $1,700 - $2,500

          HOWARD ARKLEY (1951-1999) "TRIPLE FRONTED BRICK VENEER" Ltd Edition Digital Giclee facsimile print. Unframed work. Limited to only 20 prints, this is one of Arkleys most iconic and sought after images, dating from 1987, signed, titled and numbered 3 of only 20. Provenance: Hazel Gallery, Victoria. Image size: 110cm x 76. 50 ( 43. 31 in. x 30. 12in) Sheet size: 92 x 118 cm. (36. 22 x 46. 46 in. )

          Phillip Caldwell Auctioneers
        • Screenprint, 38x54cm, Howard Arkley
          Dec. 10, 2023

          Screenprint, 38x54cm, Howard Arkley

          Est: $1,500 - $2,000

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, screenprint 8/100, 38x54cm, facsimile signed lower right.

          Kim's Auction
        • HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm
          Dec. 07, 2023

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm

          Est: $3,500 - $4,500

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93.5 x 72cm PROVENANCE: Private collection, Melbourne OTHER NOTES: "Howard Arkley and Nick Cave moved in overlapping circles in Melbourne in the late 1970s. One of the first two works commissioned by the Portrait Gallery, Arkley's painting of Cave was one of the last the artist completed before his death at the peak of his career. The portrait captures the punk mentality and attitude of both artist and sitter in Arkley's immaculately-finished, psychedelic and incandescent airbrush style." (National Portrait Gallery, Canberra) RELATED WORK: Nick Cave 1999, synthetic polymer paint on canvas, 175.2 x 135.2cm, The Collection of the National Portrait Gallery, Canberra. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999), Stapelia-Peduncle (also known as Neocummgii) 1985
          Nov. 29, 2023

          HOWARD ARKLEY (1951-1999), Stapelia-Peduncle (also known as Neocummgii) 1985

          Est: $20,000 - $30,000

          HOWARD ARKLEY (1951-1999) Stapelia-Peduncle (also known as Neocummgii) 1985 synthetic polymer paint on paper 53.0 x 73.0 cm; 82.0 x 107.0 cm (framed) signed and dated lower left: Howard Arkley 85. signed, dated and inscribed verso: Name Howard Arkley/ Title/ Size/ Date 1985

          Menzies
        • Howard Arkley Brick Veneer, giclee print Ed 30/50
          Nov. 26, 2023

          Howard Arkley Brick Veneer, giclee print Ed 30/50

          Est: $1,500 - $3,000

          Howard Arkley (1951-1999) - Triple Fronted Brick Veneer, gicleeprint 30/50, 74x110cm, facsimile signed lower right.

          Kim's Auction
        • HOWARD ARKLEY, HEAD OF YOUNG MAN (DALE), 1998
          Nov. 22, 2023

          HOWARD ARKLEY, HEAD OF YOUNG MAN (DALE), 1998

          Est: $15,000 - $20,000

          HOWARD ARKLEY (1951 - 1999) HEAD OF YOUNG MAN (DALE), 1998 synthetic polymer paint on arches paper 71.5 x 56.0 cm (sheet) signed and dated lower left: Howard Arkley 98 signed, dated and inscribed verso: Howard Arkley / Head of Young man (Dale) / 1998 / Acrylic on paper / 570 x 710 mm PROVENANCE Private collection, Melbourne, a gift from the artist in 1998  LITERATURE Howard Arkley Online Catalogue Raisonné:  https://www.arkleyworks.com/blog/2021/10/09/untitled-head-2-1998-w-p/ [accessed 17/08/23] © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY, FELONY, 1987
          Nov. 22, 2023

          HOWARD ARKLEY, FELONY, 1987

          Est: $150,000 - $250,000

          HOWARD ARKLEY (1951 - 1999) FELONY, 1987 synthetic polymer paint on canvas 160.0 x 120.0 cm signed verso: Howard Arkley signed, dated and inscribed with title verso: Howard Arkley / Felony / 1987 PROVENANCE Tolarno Galleries, Melbourne (label attached verso) Private collection, Melbourne, acquired from the above c.1987 EXHIBITED Howard Arkley: Suburban urban messages, Roslyn Oxley9 Gallery, Sydney, 2 – 19 September 1987, cat. 10 Howard Arkley, Anima Gallery, Adelaide, October – November 1987, cat. 3 Howard Arkley, Monash University Gallery, Melbourne, 18 October – 30 November 1991, cat. 63 Howard Arkley: The Retrospective, National Gallery of Victoria, Melbourne, 17 November 2006 – 25 February 2007 and touring (label attached verso, erroneously catalogued as ‘Felony, 1983’) LITERATURE Duncan, J (ed.), Howard Arkley, Monash University Gallery, Melbourne, 1991, p. 27 (illus.) Crawford, A., & Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, pp. 63, 65 (illus. erroneously catalogued as ‘Felony, 1983’) Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2009/11/19/felony-1987/] (accessed 24/10/23) RELATED WORK Felony, 1983, synthetic polymer paint on canvas, 160.0 x 120.0 cm, private collection, Melbourne Felony, 1983, synthetic polymer paint on paper, 158.0 x 117.0 cm, Museum of Contemporary Art, Sydney: Gift of Loti Smorgon and Victor Smorgon, 1995 ESSAY In 1986, Howard Arkley painted one of his most confronting and realistic images, The Ritual, which depicted a figure about to insert a needle into an extended, torniquet-ed arm. Whether or not the subject matter reflected the artist’s own drug use at the time is now a moot point, but the painting was undeniably part of a small group of images from the 1980s which sought inspiration from the darker side of life and the harsh realities of inner urban living. This group includes Suicide, 1983; Ever Feel Like Drowning, 1987; and Felony, 1987 – which is a second version of a painting of the same title, originally produced in 1983.1   In 1981, Arkley moved from Chapel Street, Prahran to St Kilda, which was a haven of the punk and alternative music scenes and home to now iconic venues like the Crystal Ballroom. Arkley and his then-wife, artist Elizabeth Gower, had been introduced to punk in 1977 by New York-based Australian artist, Denise Green, who sent the pair to CBGBs during Arkley’s first trip to New York.2 Arkley continued to seek out punk gigs during their travels abroad, drawing influence from the unexpected nature of this wild new world:   ‘He had little to say about the music as such and was struck primarily by the mood of events, the gritty urban environment and the air of violence and threat. Punk was about the scene and the style. It represented mean streets, edgy behaviour and tight-knit, energetic subcultures.’3   The source image for Felony is a copy of the Boys Own Annual from the early 1950s, which was held in Arkley’s personal collection.4 When combined with the artist’s punk sensibility and high-keyed maximalist style however, these rather tame beginnings are transformed into a painting full of movement and potential threat – both that of being robbed, and of the felon being caught. With its tilting planes and competing decorative surfaces – the fluttering curtain, the brick wall, and the strange, cactus-like doodle forms just within the thief’s grasp – nothing sits still, creating a sense of tension and unease that belies the painting’s comic book style and Pop Art origins. Yet unlike the narrative journey of the comic book, where the action progresses from one gridded image to another, Arkley’s work is a singular frame, suspended in time and space without resolution.   The artist’s encounter with the work’s source as an image in reproduction was to increasingly influence his working method, and in turn, the way he both conceptualised and thought about his practice. Arkley emphasised the remove that the airbrush provided and celebrated the fact that his works weren’t handmade. Indeed, he saw his paintings as a form of ‘second-degree culture’ and wanted them to look ‘false’.5 As he said:   ‘I want my work to look like a reproduction of a painting, not be a painting. I want it to look like it was a slide or a book. I want it to look like the paintings that educated me, and I saw them in books and magazines and slides etc. I didn’t want any great globules of paint running down because in a book they don’t have that, they’re nice and flat and shiny.’6   Yet despite these intentions, there is, ironically, only one Howard Arkley, and in his distinctive subject matter and working methods he stands alone.   1. The Ritual, 1986 was controversially acquired by the State Library of Victoria in 1988. For images of these works see: https://www.arkleyworks.com/blog/2009/11/19/happenstance-1987/   2. McAuliffe, C., ‘Raw Power Meets Electronic Music Sounds: Howard Arkley and Popular Music’ in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 32. CBGBs is a small bar on the Bowery in New York, largely regarded as the birthplace of punk in the United States. In the 1970s it was an important venue for punk and new wave bands such as the Ramones, Blondie, Talking Heads, Misfits, Television, Patti Smith Group, The Dead Boys, The Dictators and The Cramps. 3. ibid. 4. Crawford, A., Spray: The Work of Howard Arkley, Craftsman House, Sydney, 2000, p. 65 5. Preston, E., Not Just a Suburban Boy, Duffy & Snellgrove, Potts Point, 2002, p. 224, cited in ‘Howard Arkley: Learning Resources’, National Gallery of Victoria, Melbourne: https://www.ngv.vic.gov.au/school_resource/howard-arkley/ (accessed 24 October 2023) 6. Wyzenbeek, A. (dir.), Howard’s Way, 1999, ABC TV Arts, 24 mins, excerpt at https://www.youtube.com/watch?v=YByGawnhx7E (accessed 24 October 2023)   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY, PHYSIOGNOMY, 1987
          Nov. 22, 2023

          HOWARD ARKLEY, PHYSIOGNOMY, 1987

          Est: $60,000 - $80,000

          HOWARD ARKLEY (1951 - 1999) PHYSIOGNOMY, 1987 synthetic polymer paint on canvas 163.0 x 122.0 cm signed and dated verso: Howard Arkley 87. signed, dated and inscribed with title verso: HOWARD ARKLEY / "Physiognomy" / 1987 PROVENANCE Private collection Deutscher~Menzies, Melbourne, 25 - 26 April 1999, lot 248 (as 'The Physiognomy') The Estate of the Late Alan Cardy, Sydney EXHIBITED Howard Arkley: Suburban urban messages, Roslyn Oxley9 Gallery, Sydney, 2 - 19 September 1987, cat. 11 (as 'Happenstance') Howard Arkley, Bellas Gallery, Brisbane, 13 June – 1 July 1989, cat. 2 Howard Arkley and Friends, TarraWarra Museum of Art, Victoria, 5 December 2015 – 28 February 2016 LITERATURE Crawford, A., and Edgar, R.,  Spray: The Work of Howard Arkley, Craftsman House, Sydney, revised edition 2001, p. 76 (illus. as 'Strange Fruit') Gregory, J.,  Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, pp. 169, 170, fig. 6.14 (illus.) Fitzpatrick, A., and Lynn, V.,  Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, pp. 95 (illus.), 143 Howard Arkley Online Catalogue Raisonné: [https://www.arkleyworks.com/blog/2009/11/19/physiognomy-1987/] (accessed 9/10/23) ESSAY When Howard Arkley died in July 1999 just three days after his return to Melbourne following the enormous success of his exhibition The Home Show at the Venice Biennale, the career of one of Australia’s most highly productive and endlessly innovative contemporary artists was tragically cut short. However, as a painting such as Physiognomy, 1987 highlights, Arkley’s work never ceases to surprise and delight in both its unexpected combination of colour and form, and in its ability to continually reveal the artist’s idiosyncratic grab-bag approach to inspiration and making. As curator Anthony Fitzpatrick has astutely observed:   ‘…it was this kind of unresolved, liminal juncture between high and low, reality and simulation, planning and improvisation, rational and irrational, the abstracted and the constructed, detachment and involvement, firsthand experience and second degree quotation, that Arkley occupied throughout his entire career. From a seemingly endless flow of dislocated and disjointed cultural fragments, the artist generated and synthesised his own web of references and connections, a method and a structure that would underpin his potent, highly distinctive and instantly recognisable visual identity.’1   Physiognomy was first exhibited in September 1987 at Roslyn Oxley9 Gallery, Sydney under the name Happenstance, 1987 and was subsequently shown at Bellas Gallery, Brisbane in June 1989 under its present title.2 Part of a group of intriguing images that transformed cactus-like forms into strange humanoid creatures (with some more obviously bearing human body parts, such as arms and legs, often placed in anatomically impossible positions) the work was a creative and decorative extension of the artist’s exhibition Howard Arkley: C acti and Succulents held at Roslyn Oxley9 Gallery, Sydney in May 1984. The spiky, somewhat surreal forms of these plants obviously appealed to Arkley, who emphasised their structural qualities through his expressive and skilled use of the airbrush and celebratory combination of decorative elements.   While the work’s title refers to the capacity to determine a subject’s personality or character through their facial features, Arkley’s teardrop shaped ‘head’ remains blank, revealing nothing. This impenetrable visage, with its areas of rich block colour and dotted hairlike tendrils become the perfect foil for the shifting chromatic spectrum of Arkley’s complex crisscross background and black spray outline, which seem to physically pulse, and always hover, on the edge of focus. Drawing upon the imaginative lineage of Surrealism and Pop, Arkley often replaced the human head with a cactus in his drawings, and in turn, his first major portraits – Tattooed Head, 1983 (Collection TarraWarra Museum of Art) and Zappo Head, 1987 (Bendigo Art Gallery) – included several plant-like features.3 Over time, these cactus heads became ‘something of a signature for the artist’s persona – another alter ego and mask’.4 As Arkley’s wife and long-term assistant, Alison Burton has recalled:   ‘…I often associate [his cacti succulent works] as particularly characteristic of him. They were a motif Howard used many times in his sketches and doodles, meandering across newspapers, coasters and novels, anything that he could draw on. I think his cacti works to be rather like I remember him, spiky, quirky and sometimes chaotic, but also contained, thoughtful and ordered.’5   1. Fitzpatrick, A., ‘Sampling: The Art of Howard Arkley’ in Fitzpatrick, A. & Lynn, V., Howard Arkley and Friends, TarraWarra Museum of Art, Healesville, 2015, p. 22 2. John Gregory has since determined that Happenstance, 1987 is another composition : https://www.arkleyworks.com/blog/2009/11/19/happenstance-1987/ (accessed 24 October 2023) 3. See Lynn, op. cit., p. 62 and Fitzpatrick, op. cit., p. 18 4. Lynn, ibid. 5. ibid.   KELLY GELLATLY © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Deutscher and Hackett
        • HOWARD ARKLEY - ANAMORPHISM 1987 - ACRYLIC ON PAPER
          Nov. 21, 2023

          HOWARD ARKLEY - ANAMORPHISM 1987 - ACRYLIC ON PAPER

          Est: $28,000 - $35,000

          HOWARD ARKLEY (1951-1999) ANAMORPHISM 1987 Signed and dated 87 lower right Acrylic on paper 74.5 x 55cm Estimate $28,000/35,000 AUD

          GFL Fine Art
        • HOWARD ARKLEY 1951-1999 Shadow Factories 1991 synthetic polymer paint on canvas 175.5 x 135.5 cm
          Nov. 21, 2023

          HOWARD ARKLEY 1951-1999 Shadow Factories 1991 synthetic polymer paint on canvas 175.5 x 135.5 cm

          Est: $800,000 - $1,000,000

          HOWARD ARKLEY 1951-1999 Shadow Factories 1991 synthetic polymer paint on canvas signed, dated and inscribed 'Howard Arkley / 1991 / Shadow Factories' verso 175.5 x 135.5 cm PROVENANCE Howard Arkley, Melbourne Private Collection, Melbourne, acquired from the above in 1991 LITERATURE John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

          Smith & Singer
        • HOWARD ARKLEY 1951-1999 Sampler: Formal 1998 synthetic polymer paint on canvas 150 x 120 cm
          Nov. 21, 2023

          HOWARD ARKLEY 1951-1999 Sampler: Formal 1998 synthetic polymer paint on canvas 150 x 120 cm

          Est: $350,000 - $550,000

          HOWARD ARKLEY 1951-1999 Sampler: Formal 1998 synthetic polymer paint on canvas signed, dated and inscribed 'SAMPLER: FORMAL 1998 / Howard Arkley' verso 150 x 120 cm PROVENANCE Howard Arkley, Melbourne Tolarno Galleries, Melbourne Private Collection, Melbourne, acquired from the above on 4 July 1999 EXHIBITED Howard Arkley, Tolarno Galleries, Melbourne, 28 November - 24 December 1998, no. 3 LITERATURE Ashley Crawford and Ray Edgar, Spray: The Work of Howard Arkley (rev. ed.), Craftsman House, Sydney, 2001, p. 136 (illustrated) John Gregory, Arkley Works: Howard Arkley Online Catalogue Raisonné, www.arkleyworks.com, (illustrated)

          Smith & Singer
        • HOWARD ARKLEY (1951-1999), Zappo Head, watercolour on silkscreen on paper, signed lower right "Howard Arkley", inscribed on verso "Howard Arkley Zappo Mask Screenprint Watercolour", 38cm x 27cm, 54.5cm x 39cm overall
          Nov. 19, 2023

          HOWARD ARKLEY (1951-1999), Zappo Head, watercolour on silkscreen on paper, signed lower right "Howard Arkley", inscribed on verso "Howard Arkley Zappo Mask Screenprint Watercolour", 38cm x 27cm, 54.5cm x 39cm overall

          Est: $1,500 - $2,000

          HOWARD ARKLEY (1951-1999), Zappo Head, watercolour on silkscreen on paper, signed lower right "Howard Arkley", inscribed on verso "Howard Arkley Zappo Mask Screenprint Watercolour", 38cm x 27cm, 54.5cm x 39cm overall

          Leski Auctions Pty Ltd
        • HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 5/499 96 x 76cm
          Nov. 15, 2023

          HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 5/499 96 x 76cm

          Est: $3,000 - $4,000

          HOWARD ARKLEY (1951-1999) Deluxe Setting 1992 archival pigment print, ed. 5/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 96 x 76cm PROVENANCE: Private collection, Melbourne OTHER NOTES: RELATED WORK: Howard Arkley, Deluxe Setting 1992, synthetic polymer paint on canvas, 173 x 135cm, Menzies, Melbourne, 27 June 2019, lot 32 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Triple Fronted 1988 archival pigment print, ed. 131/499 93 x 135cm
          Nov. 15, 2023

          HOWARD ARKLEY (1951-1999) Triple Fronted 1988 archival pigment print, ed. 131/499 93 x 135cm

          Est: $5,000 - $7,000

          HOWARD ARKLEY (1951-1999) Triple Fronted 1988 archival pigment print, ed. 131/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93 x 135cm PROVENANCE: Private collection, Melbourne OTHER NOTES: RELATED WORK: Triple Fronted 1987, synthetic polymer paint on canvas, 166.4 x 238.4 cm, The Collection of the Art Gallery of New South Wales, Sydney. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm
          Nov. 15, 2023

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 93.5 x 72cm

          Est: $4,000 - $6,000

          HOWARD ARKLEY (1951-1999) Nick Cave 1999 archival pigment print, ed. 36/499 printed signature lower right: Howard Arkley editioned lower left artist's estate blindstamp lower left accompanied by a certificate of authenticity from Kalli Rolfe Contemporary Art, Melbourne 93.5 x 72cm PROVENANCE: Private collection, Melbourne OTHER NOTES: "Howard Arkley and Nick Cave moved in overlapping circles in Melbourne in the late 1970s. One of the first two works commissioned by the Portrait Gallery, Arkley's painting of Cave was one of the last the artist completed before his death at the peak of his career. The portrait captures the punk mentality and attitude of both artist and sitter in Arkley's immaculately-finished, psychedelic and incandescent airbrush style." (National Portrait Gallery, Canberra) RELATED WORK: Nick Cave 1999, synthetic polymer paint on canvas, 175.2 x 135.2cm, The Collection of the National Portrait Gallery, Canberra. © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • HOWARD ARKLEY (1951-1999) Curvilinear with Grid 1978 synthetic polymer paint on canvas 203 x 78.5cm
          Oct. 24, 2023

          HOWARD ARKLEY (1951-1999) Curvilinear with Grid 1978 synthetic polymer paint on canvas 203 x 78.5cm

          Est: $30,000 - $40,000

          HOWARD ARKLEY (1951-1999) Curvilinear with Grid 1978 synthetic polymer paint on canvas signed, titled and dated verso: Curvilinear / with grid / 78 / H Arkley 203 x 78.5cm PROVENANCE: Private collection, Melbourne By inheritance from the above EXHIBITIONS: Howard Arkley: Recent Paintings, Tolarno Galleries, Melbourne, 9 – 20 May 1979 Howard Arkley, Coventry Gallery, Sydney, 4 – 22 March 1980, cat. no. 4 Howard Arkley, Monash University Gallery, Melbourne, 18 October - 30 November 1991, cat. no. 15 LITERATURE: Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2009/11/13/curvilinear-with-grid-1978/ (illus.) OTHER NOTES: Howard Arkley's subjects broadly extended from suburban houses and freeway overpasses, to zappo heads and pattern appropriations. When looking at the work of Howard Arkley and his extensive archives, the plethora of references is quickly apparent. Beneath each of Arkley's canvases is a complex history of ideas and experimentations from drawings, notes, clippings, photographs and more. Where some artists look to conceal their source material, Arkley placed it front and centre and even exhibited it alongside his paintings on at least one occasion. In Howard's diary from 1978, he demonstrates a clear influence from John Perreault's essay 'Issues in Pattern Painting', which discusses contemporary art and its characteristic of calling attention to that which is often invisible. Those artists that are 'pattern-conscious', such as Arkley, bring these invisible elements into focus. Above this reference in Arkley's diary, he scribed his mission: "I want to re-energise abstract painting". In the same year, Arkley and his wife Elizabeth Gower travelled to Europe and New York where he filled a small notebook with sketches and musings from different patterns he had sighted along the way. What appears to have struck him the most were the wrought-iron doorways. Upon returning to Australia, he continued this fascination and it was the provincial Australian fly-wire security door that provided a local equivalent. "I used the door format to arrive at my canvas proportion using what turned out to be unlimited variations of patterns and shapes."(1) The resulting paintings from this period are known as his 'door paintings', not only for their source material but also their size akin to a classic doorframe. These paintings were exhibited across shows in 1979 and 1980, referencing doors, sewing patterns and I Ching symbols. They demonstrate Arkley's 'pattern-conscious' approach, with free-flowing curves, curls and peaks reminiscent of wrought iron contained within the subtle grid-form of the doorframe. In Howard Arkley's paintings, elements of modern life become the protagonist whilst he challenges our notions of art and décor through his pattern-making. He makes no attempts to conceal his thought process, referencing his source material openly. Through his paintings, Arkley identified a new Australian art identity, positioning him as the foremost painter of Australian suburbia for which he is still recognised today. Olivia Fuller Head of Art (1) Fitzpatrick, A., Lynn, V., Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, p.12 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

          Leonard Joel
        • A Howard Arkley mixed media.
          Oct. 15, 2023

          A Howard Arkley mixed media.

          Est: $500 - $800

          A Howard Arkley mixed media. House study. Signed lower right. 28 x 40 cm (without frame).

          E J Ainger
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