Dale Frank Paintings & Artwork for Sale | Dale Frank Art Value Price Guide

Dec. 05, 2024
Dale FRANK
Est: €12,000 - €15,000
Dale FRANK Transient Ischaemic Attack Painting London 6 (TIAPL6) - 2005 No one has ever killed two birds with one stone : if a missing person saw their picture on a milk carton that offered a reward, would they get the money ? Light Fitting Acrylique et vernis sur toile Signé au dos 200 x 200 cm Acrylic and varnish on canvas ; signed on the reverse 78.74 x 78.74 in. Provenance : Anna Schwartz Gallery, Melbourne Acquis directement auprès de cette dernière par l'actuel propriétaire Expositions : Londres, Frieze Art Fair, Stand Anna Schwartz Gallery, 15 au 18 octobre 2004 FR Dale Frank est l'un des artistes contemporains les plus en vue d'Australie. Depuis les années 1970, il mène une carrière internationale d'artiste conceptuel. Surtout connu pour ses peintures abstraites vivantes, sa pratique multidisciplinaire s'étend à la sculpture, au dessin, à la performance, au film et à l'installation, qui adhèrent tous étroitement à son approche expérimentale des nouvelles matérialités. Depuis des décennies, la pratique de Frank est motivée par ses recherches empiriques permanentes sur la potentialité de la peinture. Il considère que les nouvelles capacités et le nouveau pouvoir de la peinture font partie intégrante de l'art d'aujourd'hui et qu'ils sont essentiels à sa compréhension. EN Dale Frank is one of Australia’s foremost contemporary artists. Since the 1970s, Frank has enjoyed a successful international career as a conceptual artist. Best known for his vivacious abstract paintings, his multidisciplinary practice spans sculpture, drawing, performance, film, and installation, all of which adhere closely to his experimental approach to new materialities. For decades Frank’s practice has been motivated by his ongoing empirical investigations into the potentiality of painting, finding new abilities and power in painting as integral and crucial to understanding art today. Dale FRANK FR Dale Frank est l'un des artistes contemporains les plus en vue d'Australie. Depuis les années 1970, il mène une carrière internationale d'artiste conceptuel. Surtout connu pour ses peintures abstraites vivantes, sa pratique multidisciplinaire s'étend à la sculpture, au dessin, à la performance, au film et à l'installation, qui adhèrent tous étroitement à son approche expérimentale des nouvelles matérialités. Depuis des décennies, la pratique de Frank est motivée par ses recherches empiriques permanentes sur la potentialité de la peinture. Il considère que les nouvelles capacités et le nouveau pouvoir de la peinture font partie intégrante de l'art d'aujourd'hui et qu'ils sont essentiels à sa compréhension. EN Dale Frank is one of Australia’s foremost contemporary artists. Since the 1970s, Frank has enjoyed a successful international career as a conceptual artist. Best known for his vivacious abstract paintings, his multidisciplinary practice spans sculpture, drawing, performance, film, and installation, all of which adhere closely to his experimental approach to new materialities. For decades Frank’s practice has been motivated by his ongoing empirical investigations into the potentiality of painting, finding new abilities and power in painting as integral and crucial to understanding art today.
Artcurial
Dec. 03, 2024
Dale Frank (born 1959) Jonny Bravo, 2004
Est: $18,000 - $24,000
Dale Frank (born 1959) Jonny Bravo, 2004 signed and dated verso: 'Dale Frank 2004' (twice) acrylic and varnish on linen 160.0 x 120.0cm (63 x 47 1/4in).
Bonhams
Oct. 01, 2024
DALE FRANK, (1959 -), Self Portrait & Red Tide - 1983, synthetic polymer paint on canvas, 145 x 95 (frame: 147.5 x 97.5) cm
Est: $14,000 - $17,000
DALE FRANK (1959 - ) Self Portrait & Red Tide - 1983 synthetic polymer paint on canvas initialed verso, dated and titled on label verso.
Lawsons
Sep. 22, 2024
Dale Frank (b-1959) signed "Day 8" 2019
Est: $20,000 - $30,000
artwork - tinted varnish, epoxy glass on iridescent Perspex - 120cm x 200cm Signed and dated verso Dale Leonard Frank remains at the forefront of contemporary art both nationally and internationally. in1975, the young 16 year old artist was awarded the red cross art award by John Olsen. frank's first solo exhibitions took place 5 years later in Dublin, Budapest and Milan, and one year later in London, New York and Perth. the 1990's saw him experimentation with commercial varnishes and the intricate interaction of various pigments. pouring luminous pools of varnish onto mediums including glass,canvas and perspex, including this fine example.
Yarra Valley Auctions
Sep. 10, 2024
Dale Frank (born 1959) The Bottle Tree Looked Really RUDE, 2019
Est: $20,000 - $30,000
Dale Frank (born 1959) The Bottle Tree Looked Really RUDE, 2019 signed and dated verso: 'Dale Frank 2019' tinted varnish, epoxyglass on perspex 147.0 x 197.5cm (57 7/8 x 77 3/4in).
Bonhams
Sep. 10, 2024
Dale Frank (born 1959) I was sent off to find an 18th Century Diamond Brooch..., 2005
Est: $45,000 - $55,000
Dale Frank (born 1959) I was sent off to find an 18th Century Diamond Brooch..., 2005 signed twice verso: 'Dale Frank 2005 / Dale Frank / 2005' varnish on canvas 200.0 x 260.0cm (78 3/4 x 102 3/8in).
Bonhams
Aug. 27, 2024
Dale Frank, (b. 1959), Untitled, 2016, colour pigments in epoxyglass, epoxyglass on perspex, 120 x 160 cm
Est: $20,000 - $30,000
Dale Frank (b. 1959) Untitled, 2016 colour pigments in epoxyglass, epoxyglass on perspex signed and dated verso 'Dale Frank, 2016'
Shapiro Auctioneers
Aug. 21, 2024
DALE FRANK born 1959 His deterioration mediated through countless other mediocre meaningless ailments that in reality only signaled the
Est: $40,000 - $60,000
DALE FRANK born 1959 His deterioration mediated through countless other mediocre meaningless ailments that in reality only signaled the loss that comes with aging. A loss he grappled with, contradicted, was resigned, and rebelled against every day 2009 varnish on canvas signed and dated ‘Dale Frank 2009' verso 200 x 200 cm PROVENANCE Dale Frank, New South Wales Rosyln Oxley9 Gallery, Sydney Private Collection, Sydney, acquired from the above EXHIBITED Dale Frank: Ice Age, Roslyn Oxley9 Gallery, Sydney, 11 February – 6 March 2010, no. 13
Smith & Singer
Jul. 30, 2024
DALE FRANK, ZAC EFRON, 2008–09
Est: $40,000 - $60,000
DALE FRANK born 1959 ZAC EFRON, 2008–09 varnish on linen 200.0 x 200.0 cm signed and dated verso: Dale Frank / 2008/9 PROVENANCE Anna Schwartz Gallery, Melbourne Private collection, Melbourne, acquired from the above © Dale Frank. Courtesy of Roslyn Oxley9 This work is located in our Melbourne Gallery
Deutscher and Hackett
Jun. 23, 2024
ORIGINAL DALE LEONARD FRANK (b.1959) UNTIILED
Est: -
ORIGINAL DALE LEONARD FRANK (b.1959) UNTIILED SIGNED & DATED ON BACK TINTED VARNISH, EPOXYGLASS ON PERSPEX Dale Frank remains at the forefront of contemporary art, both nationally and internationally. In 1975, the young 16 year old painter was awarded the Red Cross Art Award by John Olsen. Frank’s first solo exhibitions took place 5 years later in Dublin, Budapest and Milan and, one year later, in London, New York, Bologna and Perth. The 90s saw him begin his experimentation with commercial varnishes and the intricate chemical interaction of various pigments. Pouring luminous pools of pigmented varnish onto canvas, including this wonderful example. 150CM X 100CM
Yarra Valley Auctions
May. 20, 2024
DALE FRANK (born 1959) The Late 24 Year Old Travis Boyd's Thick and Hairy Belly 4 2018 varnishes, epoxyglass on Perspex 150.5 x 100.5c
Est: $10,000 - $15,000
DALE FRANK (born 1959) The Late 24 Year Old Travis Boyd's Thick and Hairy Belly 4 2018 varnishes, epoxyglass on Perspex signed and dated verso: Dale Frank 2018 150.5 x 100.5cm PROVENANCE: Pearl Lam Galleries, Hong Kong Private collection, Sydney OTHER NOTES: Courtesy of The Artist and Roslyn Oxley9 Gallery, Sydney
Leonard Joel
May. 07, 2024
Dale Frank (born 1959) Oyster, 1999
Est: $15,000 - $20,000
Dale Frank (born 1959) Oyster, 1999 synthetic polymer paint, enamel and varnish on linen 200.0 x 200.0cm (78 3/4 x 78 3/4in).
Bonhams
May. 07, 2024
Dale Frank (born 1959) Norman Reedus 3, 2002
Est: $30,000 - $50,000
Dale Frank (born 1959) Norman Reedus 3, 2002 varnish and synthetic polymer paint on linen 200.0 x 200.0cm (78 3/4 x 78 3/4in).
Bonhams
Mar. 27, 2024
DALE FRANK born 1959, Transient Ischemic Attack Painting London 3 (TIAPL3): Sheep get static cling when they rub together 2005
Est: $40,000 - $60,000
PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE DALE FRANK born 1959 Transient Ischemic Attack Painting London 3 (TIAPL3): Sheep get static cling when they rub together 2005 varnish on linen 200.0 x 200.0 cm twice signed and dated verso: Dale Frank/ 2005/ Dale Frank 2005
Menzies
Mar. 19, 2024
§ DALE FRANK (born 1959) Hard & Fast 1989 synthetic polymer paint on canvas 87 x 59cm
Est: $3,500 - $5,500
§ DALE FRANK (born 1959) Hard & Fast 1989 synthetic polymer paint on canvas initialled, titled and dated verso: DF/ 89/ HARD & FAST 87 x 59cm PROVENANCE: Philip Bacon Galleries, Brisbane (label verso) Eva Breuer Art Dealer, Sydney (label verso, stock no. 13389) Private collection, Brisbane Menzies, Sydney, 24 September 2014, lot 348 Private collection, Melbourne OTHER NOTES: © Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Leonard Joel
Nov. 29, 2023
DALE FRANK born 1959, Duckenfield Osterley 2011
Est: $40,000 - $60,000
DALE FRANK born 1959 Duckenfield Osterley 2011 varnish on linen 181.0 x 181.0 cm signed and dated verso: Dale Frank/ 2011/ Dale Frank
Menzies
Nov. 28, 2023
Dale Frank (born 1959) Oyster, 1999
Est: $20,000 - $30,000
Dale Frank (born 1959) Oyster, 1999 synthetic polymer paint, enamel and varnish on linen 200.0 x 200.0cm (78 3/4 x 78 3/4in).
Bonhams
Nov. 22, 2023
DALE FRANK, I WAS SENT OFF TO FIND AN 18TH CENTURY DIAMOND BROOCH..., 2005
Est: $50,000 - $70,000
DALE FRANK born 1959 I WAS SENT OFF TO FIND AN 18TH CENTURY DIAMOND BROOCH, DRESSED IN A DONKEY JACKET AND CEMENT-DUSTED WORKMAN’S BOOTS. HE UNDERSTOOD THE PAST, WHEREAS TODAY’S BRILLIANT BUTTERFLIES WHO DINE OUT TALK ONLY ABOUT THE NEW AND KNOW ONLY ABOUT THE FUTURE OF THEIR ART PORTFOLIO’S PRICING STRUCTURE. THEIR LEAD SHOES ARE VERY MUCH IN NEED IN THE LIGHT GRAVITY-LESS ATMOSPHERE, 2005 varnish on canvas 200.0 x 260.0 cm signed twice verso: Dale Frank 2005 / Dale Frank / 2005 PROVENANCE Roslyn Oxley9 Gallery, Sydney (label attached verso) Private collection, Sydney, acquired from the above in 2006 EXHIBITED Dale Frank, Roslyn Oxley9 Gallery, Sydney, 2 – 27 May 2006, cat. 1 LITERATURE Frank, D., So Far: the Art of Dale Frank 2005-1980, Schwartz City Publishing, Melbourne, 2007, p. 16 (illus.) ESSAY Featuring glistening marbled flows and ponderous slides of ultramarine, indigo and ochre poured across the canvas in layers of varying viscosity and translucency, I was sent off to find an 18th century diamond brooch…, 2005 offers a particularly stunning example of the sumptuous, glossy abstractions for which Dale Frank has become so widely acclaimed. Brilliantly evocative in their epic scale, intense colouration and mesmerising, plasma-like reflections, such works typically engage with paradigms of science, poetics, spatialisation and time to offer a continually evolving dialogue upon the individual’s relationship to the immersive universe. Possessing the remarkable ability to completely absorb the viewer’s consciousness, thus Frank’s ‘performances’ not only complicate the customary roles of artist as creator and audience as passive observer, but powerfully highlight the psychological dimension inherent in perception itself. Indeed, despite their inordinately specific, often witty titles and the swirling tides of sensuous, tinted varnish which seem to convey the forces of nature in a manner reminiscent of Romantic painting, Frank is emphatic in his eschewal of any reference to the literal – his works are neither real nor imagined. Rather, each performance ‘creates itself’, evolving over time through the movement and chemical reactions between layers of strident, pulsating varnish in its molten liquid form (‘a living entity’). As Frank elucidates, the blank white canvas is never a pristine ground that must be filled, rather ‘a black space’ where the final outcome is ‘forced upon the Painting by the vagaries of its own Nature and makeup: its environment and material personality determine its image, its future, its relations within the world.’1 If Frank’s technique appears ostensibly random or unpredictable however, such spontaneity belies a painstaking process of ‘endurance and isolation.’ As the luminous pools of pigmented varnish are poured onto the horizontal canvas and immediately begin to resist and coalesce, the artist must remain continuously attentive to the passing of time, the variations of climate, and the actions required by him at every stage – adding more varnish or changing the angle of support as necessary. As Frank reveals, ‘It is a totally hands on and cerebral way of painting... The process can take up to twenty-four hours where I have to be permanently standing over the painting, constantly considering every minute aspect.’2 With his visionary eloquence and technical ingenuity, Frank occupies an esteemed position at the forefront of Australian contemporary art practice. Awarded the prestigious Red Cross Art Award by John Olsen at the tender age of sixteen, his was a precocious talent and within only five years, he had achieved international recognition with solo exhibitions across Australia, Europe and America. Significantly, in 1983, his work was selected for display alongside Thomas Lawson and Anselm Kiefer at the Museo Palazzo Lanfranchi in Pisa, Italy, and in 1984, he was included in the Aperto section of the Venice Biennale. In 2000, the Museum of Contemporary Art, Sydney mounted the touring survey exhibition of his work Ecstasy: 20 years of painting; in 2005, Frank won the Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria and in 2007, his achievements were documented in the magnificent monograph So Far: the Art of Dale Frank 2005 – 1980. Today, his paintings are held in every major public collection across Australia, as well as numerous private and corporate collections around the world. 1. The artist, cited in Chapman, C., ‘Dale Frank: Performance into Painting’ in Frank, D., So Far: the Art of Dale Frank 2005 – 1980, Schwartz City Publishing, Melbourne, 2008, p. 134 2. The artist, cited in Crawford, A., ‘Dale Frank’, Art & Australia, Sydney, vol. 42, no. 2, 2004, p. 214 VERONICA ANGELATOS © Dale Frank
Deutscher and Hackett
Jul. 25, 2023
Dale Frank (b. 1959) Hashishiyyun Ralpmet Sthgink Eht Raw Yloh Eht
Est: $600 - $800
screenprint, edition: 1/20, numbered and signed l.l.c. '1/20, Dale Frank'
Shapiro Auctioneers
Jul. 25, 2023
Dale Frank (b. 1959) Hashishiyyun Ralpmet Sthgink Eht Raw Yloh Eht
Est: $600 - $800
screenprint, edition: 1/20, numbered and signed l.l.c. '1/20, Dale Frank'
Shapiro Auctioneers
Mar. 21, 2023
DALE FRANK (born 1959) Tapping Into The Desire For Something Other Than What Was There Evolved Into A Stacked Deck Of Gapping Mouths...
Est: $40,000 - $50,000
DALE FRANK (born 1959) Tapping Into The Desire For Something Other Than What Was There Evolved Into A Stacked Deck Of Gapping Mouths Bobbing Hearts And Clubs 2010 varnish on linen signed and dated verso: Dale Frank 2010 titled on gallery label verso 200.5 x 200cm PROVENANCE: Heiser Gallery, Brisbane (label verso) Private collection, Melbourne OTHER NOTES: © Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
Leonard Joel
Aug. 23, 2022
Dale Frank (born 1959) #two x96 Http://Www.free-Nude-male-celebs.com/Kirkcameron/Kirkcameron003.html, 2001
Est: $25,000 - $35,000
Dale Frank (born 1959) #two x96 Http://Www.free-Nude-male-celebs.com/Kirkcameron/Kirkcameron003.html, 2001 initialled and dated lower right: 'DF2001' signed and dated verso: 'Dale Frank / 2001' varnish on canvas 260.0 x 200.0cm (102 3/8 x 78 3/4in). For further information on this lot please visit the Bonhams website
Bonhams
Jun. 29, 2022
DALE FRANK born 1959, In the late 1950s, Plympton in Devon was certainly an out-of-the-way place for most people, 2005
Est: $50,000 - $70,000
DALE FRANK born 1959 In the late 1950s, Plympton in Devon was certainly an out-of-the-way place for most people, 2005 varnish on canvas 200.0 x 200.0 cm signed and dated verso twice: Dale Frank/ 2005/ Dale Frank 2005
Menzies
May. 04, 2022
DALE FRANK, MANOBALAI WOLLEMI, 2007
Est: $18,000 - $24,000
DALE FRANK born 1959 MANOBALAI WOLLEMI, 2007 oil and varnish on linen 120.0 x 160.0 cm signed and dated twice verso: Dale Frank 2007 / Dale Frank 2007 PROVENANCE Art Galleries Schubert, Queensland (labels attached verso, as ‘Manobala Wollami [sic.]’) Private collection, Sydney, acquired from the above in 2008 © Dale Frank
Deutscher and Hackett
Nov. 17, 2021
Dale Frank (born 1959) Eddie T Chest the Man with a Cricket Bat Shaped Penis Helping Men Manage Their Responsibilities (The Gulf), 1997-2000
Est: $20,000 - $30,000
Dale Frank (born 1959) Eddie T Chest the Man with a Cricket Bat Shaped Penis Helping Men Manage Their Responsibilities (The Gulf), 1997-2000 initialled and dated lower right: 'DF 2000' synthetic polymer paint and varnish on linen 262.0 x 200.0cm (103 1/8 x 78 3/4in). For further information on this lot please visit the Bonhams website
Bonhams
Nov. 17, 2021
Dale Frank (born 1959) Untitled, 2006
Est: $18,000 - $25,000
Dale Frank (born 1959) Untitled, 2006 signed and dated verso: 'Dale Frank 2006' synthetic polymer paint and varnish on linen 120.0 x 161.0cm (47 1/4 x 63 3/8in). For further information on this lot please visit the Bonhams website
Bonhams
Oct. 24, 2021
DALE FRANK (BORN 1959) Untitled
Est: $8,000 - $12,000
DALE FRANK (BORN 1959) Untitled synthetic polymer paint on canvas signed and dated lower right: Frank 89 230 x 180cm PROVENANCE Sotheby's, Melbourne, The Collection of Sir David Davies, Fine Australian & International Paintings, 5 May 2003, Lot 249
Gibson's
Sep. 21, 2021
DALE FRANK (b. 1959) The End Of The Honeymoon (Roslyn’s Recession) 1992 mixed media on paper
Est: $3,000 - $5,000
DALE FRANK (b. 1959) The End Of The Honeymoon (Roslyn's Recession) 1992 mixed media on paper initialled and dated lower right: DF 92 150 x 180cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney Private Collection, Goulburn acquired from the above 2008 EXHIBITIONS: "Dale Frank: Recent small drawings", Roslyn Oxley9 Gallery, Sydney, 4 March – 21 March 1992
Leonard Joel
Sep. 14, 2021
DALE FRANK, THE WOUNDED PAINTING THAT TEMPTED TO LOOK INTO THE MIRROR..., 1985
Est: $12,000 - $18,000
DALE FRANK born 1959 THE WOUNDED PAINTING THAT TEMPTED TO LOOK INTO THE MIRROR BEHIND THE ARTIST'S BACK - WHY WOMEN ARE NOT ARTISTS, 1985 synthetic polymer paint on canvas 200.0 x 178.0 cm PROVENANCE Anna Schwartz Gallery, Melbourne Private collection, Sydney, acquired from the above Sotheby’s, Melbourne, May 2009, lot 239 Private collection, Melbourne LITERATURE Magon, J., Dale Frank, Craftsman House, Tortola, 1992, cat. 22, p. 187 (illus.) © Dale Frank This work is located at our Melbourne gallery
Deutscher and Hackett
Aug. 31, 2021
DALE FRANK (born 1959) (Self Portrait with Secret) with Four Throbbers. The False Eyes and Balls in His Hands 1993 oil and enamel on...
Est: $15,000 - $20,000
DALE FRANK (born 1959) (Self Portrait with Secret) with Four Throbbers. The False Eyes and Balls in His Hands 1993 oil and enamel on canvas titled in pencil on stretcher bar verso 201 x 260cm PROVENANCE: Sherman Galleries, Sydney (label affixed verso) Private collection, Sydney EXHIBITIONS: Dale Frank: Recent Paintings and Sculptures, Sherman Galleries, Sydney, 15 July - 14 August 1993 OTHER NOTES: Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Leonard Joel
Jul. 28, 2021
Dale Frank (b. 1959)
Est: $400 - $600
Collage, 1994 magazine and photograph collage, signed and dated l.r.c. 'DF '94'
Shapiro Auctioneers
Jun. 24, 2021
Brett Whiteley - Vincent An (Essay in Opposition) , 1982
Est: $22,000 - $28,000
Brett Whiteley - Vincent An (Essay in Opposition) , 1982
Cooee Art
Jun. 24, 2021
Sam Leach - G-Skull, 2006
Est: $8,000 - $12,000
Sam Leach - G-Skull, 2006
Cooee Art
Apr. 22, 2021
Dale Frank (born 1959) Yellow Self Portrait
Est: $1,000 - $2,000
Dale Frank (born 1959) Yellow Self Portrait coloured pencil and graphite 80.0 x 65.0cm (31 1/2 x 25 9/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jun. 02, 2020
DALE FRANK (born 1959) Inland Sea That Protected Its Shores From Lovers and Shipwrecks 1984 acrylic on canvas
Est: $6,000 - $8,000
DALE FRANK (born 1959) Inland Sea That Protected Its Shores From Lovers and Shipwrecks 1984 acrylic on canvas titled and dated on gallery label formally affixed verso 176 x 124.5cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Dale Frank, Mori Gallery, Sydney 1987 or 1988 (accompanied by gallery label formally affixed verso) Modern Australian Painting, Charles Nodrum Gallery, Melbourne, 23 March - 15 April 2006, cat no. 23
Leonard Joel
May. 05, 2020
DALE FRANK (born 1959) Tom Welling 2007 synthetic polymer paint and varnish on canvas
Est: $28,000 - $35,000
DALE FRANK (born 1959) Tom Welling 2007 synthetic polymer paint and varnish on canvas signed and dated verso: Dale Frank / 2007 200 x 200cm EXHIBITIONS: Dale Frank: The Big Black Bubble, Anna Schwartz Gallery, 12 March– 11 April 2009 OTHER NOTES: When standing before a work by Dale Frank you may find yourself entranced by its inherent dynamism and majestic qualities. Pools of resin combine to ignite all the senses - stimulating sight, touch, and smell amongst the lingering aroma of varnish. Aside from their material wonder, they also reveal a trace of the artist himself in the act of creation. At close distance this is revealed to us in ebbs and flows, as it has been dripped and poured across the surface. The layers blend and create topographical-like circles that are more apparent the longer you spend with the work. Frank's monochrome paintings of the 1990s and 2000s have specific male titles of which the artist notes, "[they] were always titled after sexy or cool male actors, usually with connections to films I liked, sometimes actors falling into old age, sometimes actors falling into disgrace, sometimes actors whose star has risen and fallen, actors in the Good looking Top 50 List, actors sometimes known only to a select fan base". Whilst Frank is never opposed to contrasting colours, here in Tom Welling he transfixes us with oozing black. Much like Rothko's black paintings, the paintings are not just black. They reflect and absorb other colours from their surroundings - they alternate between slick gloss, matte and even metallic reminiscent of an oil spill. They absorb the viewer themselves making them a part of the work. Olivia Fuller, Head of Art Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
Leonard Joel
Nov. 27, 2019
DALE FRANK, born 1959, A ONE POINT TWO FIVE LITRE BOTTLE…,2009, varnish and synthetic polymer paint on canvas
Est: $35,000 - $45,000
DALE FRANK born 1959 A ONE POINT TWO FIVE LITRE BOTTLE…,2009 varnish and synthetic polymer paint on canvas SIGNED: signed and dated verso: Dale Frank 2009 DIMENSIONS: 200.0 x 260.0 cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (labels attached verso) Private collection, Sydney, acquired from the above in 2010 EXHIBITED: Dale Frank: Ice Age, Roslyn Oxley9 Gallery, Sydney, 11 February – 6 March 2010, cat. 8 ESSAY: Featuring glistening marbled flows and ponderous slides of emerald, tangerine and violet poured across the canvas in layers of varying viscosity and translucency, A One Point Five Litre Bottle…, 2009 offers a particularly stunning example of the sumptuous, glossy abstractions for which Dale Frank has become so widely acclaimed. Brilliantly evocative in their epic scale, intense colouration and mesmerising, plasma-like reflections, such works typically engage with paradigms of science, poetics, spatialisation and time to offer a continually evolving dialogue upon the individual’s relationship to the immersive universe. Thus possessing the remarkable ability to completely absorb the viewer’s consciousness, his ‘performances’ not only complicate the customary roles of artist as creator and audience as passive observer, but highlight the psychological dimension inherent in perception itself. Indeed, despite their inordinately specific, often witty titles and the swirling tides of sensuous tinted varnish which seem to convey the forces of nature in a manner reminiscent of Romantic painting, Frank is emphatic in his eschewal of any reference to the literal – his works do not depict images that are real or imagined. Rather, each performance ‘creates itself’, evolving over time through the movement and chemical reactions between layers of strident, pulsating varnish in its molten liquid form (‘a living entity’). As Frank elucidates, the blank white canvas is never a pristine ground that must be filled, but rather ‘a black space’ where the final outcome is ‘forced upon the Painting by the vagaries of its own Nature and makeup: its environment and “material” personality determine its image, its future, its relations within the world’.1 If Frank's technique appears ostensibly random or unpredictable however, such spontaneity belies a painstaking process of ‘endurance and isolation’. As the luminous pools of pigmented varnish are poured onto the horizontal canvas and immediately begin to resist and coalesce, the artist must remain continuously attentive to the passing of time, the variations of climate, and the actions required by him at every stage – adding more varnish or changing the angle of support as necessary. As Frank reveals, ‘It is a totally hands on and cerebral way of painting ... The process can take up to twenty-four hours where I have to be permanently standing over the painting, constantly considering every minute aspect’.2 With his visionary eloquence and technical ingenuity, Frank occupies an esteemed position at the forefront of Australian contemporary art practice. Awarded the prestigious Red Cross Art Award by John Olsen at the tender age of 16, his was a precocious talent and within only five years, he had achieved international recognition with solo exhibitions across Australia, Europe and America. Significantly, in 1983, his work was selected for display alongside Thomas Lawson and Anselm Kiefer at the Museo Palazzo Lanfranchi in Pisa, Italy, and in 1984, he was included in the Aperto section of the Venice Biennale. In 2000, the Museum of Contemporary Art, Sydney mounted the touring survey exhibition of his work Ecstasy: 20 years of painting; in 2005, Frank won the Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria and in 2007, his achievements were documented in the magnificent monograph So Far: the Art of Dale Frank 2005-1980. Today, his paintings are held in every major public collection across Australia, as well as numerous private and corporate collections around the world. 1. Frank, D., cited in Chapman, C., ‘Dale Frank: Performance into Painting’, in Frank, D., So Far: the Art of Dale Frank 2005-1980, Schwartz City Publishing, Melbourne, 2008, p. 134 2. Frank, D., cited in Crawford, A., ‘Dale Frank’, Art & Australia, Art & Australia Pty Ltd, Sydney, vol. 42, no. 2, 2004, p. 214 VERONICA ANGELATOS
Deutscher and Hackett
Aug. 28, 2019
DALE FRANK , born 1959 , WHEN ASKED HOW HE ACQUIRED HIS FINE COLLECTION OF FRENCH EMPIRE CLOCKS..., 2005, varnish and synthetic polymer paint on canvas
Est: $30,000 - $40,000
DALE FRANK , born 1959 , WHEN ASKED HOW HE ACQUIRED HIS FINE COLLECTION OF FRENCH EMPIRE CLOCKS..., 2005, varnish and synthetic polymer paint on canvas SIGNED: signed and dated twice verso: Dale Frank / 2005 DIMENSIONS: 200.0 x 200.0 cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (label attached verso) Private collection, Sydney Sotheby's Australia, Melbourne, 26 November 2013, lot 41 Company collection, Sydney EXHIBITED: Dale Frank, Roslyn Oxley9 Gallery, Sydney, 2 – 27 May 2006, cat. 15 LITERATURE: Cockington, J., ‘Big Names at Low, Low Prices’, Sydney Morning Herald, Sydney, 20 November 2013 ESSAY: Featuring glistening marbled flows and ponderous slides of emerald, violet and coral pink poured across the canvas in layers of varying viscosity and translucency, When asked how he acquired his fine collection…, 2005 offers a particularly stunning example of the sumptuous, glossy abstractions for which Dale Frank has become so widely acclaimed. Brilliantly evocative in their epic scale, intense colouration and mesmerising, plasma-like reflections, such works typically engage with paradigms of science, poetics, spatialisation and time to offer a continually evolving dialogue upon the individual’s relationship to the immersive universe. Thus possessing the remarkable ability to completely absorb the viewer’s consciousness, Frank’s ‘performances’ not only complicate the customary roles of artist as creator and audience as passive observer, but powerfully highlight the psychological dimension inherent in perception itself. Indeed, despite their inordinately specific, often witty titles and the swirling tides of sensuous tinted varnish which seem to convey the forces of nature in a manner reminiscent of Romantic painting, Frank is emphatic in his eschewal of any reference to the literal – his works are neither real nor imagined. Rather, each performance ‘creates itself’, evolving over time through the movement and chemical reactions between layers of strident, pulsating varnish in its molten liquid form ('a living entity'). As Frank elucidates, the blank white canvas is never a pristine ground that must be filled, rather 'a black space' where the final outcome is 'forced upon the Painting by the vagaries of its own Nature and makeup: its environment and material personality determine its image, its future, its relations within the world’.1 If Frank's technique appears ostensibly random or unpredictable however, such spontaneity belies a painstaking process of 'endurance and isolation'. As the luminous pools of pigmented varnish are poured onto the horizontal canvas and immediately begin to resist and coalesce, the artist must remain continuously attentive to the passing of time, the variations of climate, and the actions required by him at every stage – adding more varnish or changing the angle of support as necessary. As Frank reveals, 'It is a totally hands on and cerebral way of painting ... The process can take up to twenty-four hours where I have to be permanently standing over the painting, constantly considering every minute aspect’.2 With his visionary eloquence and technical ingenuity, Frank occupies an esteemed position at the forefront of Australian contemporary art practice. Awarded the prestigious Red Cross Art Award by John Olsen at the tender age of sixteen, his was a precocious talent and within only five years, he had achieved international recognition with solo exhibitions across Australia, Europe and America. Significantly, in 1983, his work was selected for display alongside Thomas Lawson and Anselm Kiefer at the Museo Palazzo Lanfranchi in Pisa, Italy, and in 1984, he was included in the Aperto section of the Venice Biennale. In 2000, the Museum of Contemporary Art, Sydney mounted the touring survey exhibition of his work Ecstasy: 20 years of painting; in 2005, Frank won the Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria and in 2007, his achievements were documented in the magnificent monograph So Far: the Art of Dale Frank 2005-1980. Today, his paintings are held in every major public collection across Australia, as well as numerous private and corporate collections around the world. 1. Frank, D., quoted in Chapman, C., 'Dale Frank: Performance into Painting' in Frank, D., So Far: the Art of Dale Frank 2005-1980, Schwartz City Publishing, Melbourne, 2008, p. 134 2. Frank, D., quoted in Crawford, A., ‘Dale Frank’, Art & Australia, Sydney, vol. 42, no. 2, 2004, p. 214 VERONICA ANGELATOS
Deutscher and Hackett
Aug. 27, 2019
§ DALE FRANK born 1959 His Talent Was Like Being Stuck Behind a Long Vehicle 2012 synthetic polymer paint and varnish on canvas 200...
Est: $30,000 - $40,000
§ DALE FRANK born 1959 His Talent Was Like Being Stuck Behind a Long Vehicle 2012 synthetic polymer paint and varnish on canvas signed and dated 'Dale Frank 2012' verso 200 x 260 cm PROVENANCE Anna Schwartz Gallery, Melbourne Private Collection Art Index, Sydney Private Collection, Canberra, acquired from the above EXHIBITED Dale Frank: Date Custard Tart, Anna Schwartz Gallery, Melbourne, 7 February - 15 March, 2013
Smith & Singer
Jul. 25, 2019
Dale Frank (1959 - ) - (Self Portrait with Secret) With Four Throbbers. the False Eyes and Balls in His Hands, 1993 201 x 260cm
Est: $20,000 - $30,000
Dale Frank (1959 - ) (Self Portrait with Secret) With Four Throbbers. the False Eyes and Balls in His Hands, 1993 oil and enamel on canvas 201 x 260cm bears title on stretcher on reverse; bears artist''s name, title and date on gallery label on reverse
Lawsons
Apr. 10, 2019
DALE FRANK, born 1959, JEREMY HUGENOT, 2000, varnish on synthetic polymer paint on canvas
Est: $25,000 - $35,000
DALE FRANK, born 1959, JEREMY HUGENOT, 2000, varnish on synthetic polymer paint on canvas DIMENSIONS: 200.0 x 200.0 cm PROVENANCE: Anna Schwartz Gallery, Melbourne (label attached verso) Private collection, Melbourne ESSAY: Epic in both scale and intent, Dale Frank's sumptuously coloured, glossy canvases such as Jeremy Hugenot, 2000 offer a continually evolving dialogue upon the individual's relationship to the immersive universe. Engaging with science, poetics, spatialisation and time, his 'performances' not only complicate the customary roles of artist as creator and audience as passive observer, but highlight the problems inherent in the very act of painting itself. Typically featuring glistening, marbled flows and ponderous slides, slow-creeping bleeds and animated squiggles, these huge plasma-like abstractions possess a remarkable ability to completely absorb the viewer's consciousness and thus provoke powerful emotional responses akin to the medium of film. Yet despite their inordinately specific titles and the swirling tides of tinted varnish which seem to convey the forces of nature in a manner reminiscent of Romantic painting, Frank deliberately eschews any reference to the literal his works are neither real nor imagined. Rather, each abstraction 'creates itself', evolving over time through the movement and chemical reactions between layers of strident, pulsating varnish in its molten liquid form ('a living entity'). Indeed, for Frank, the blank white canvas is never a pristine ground that must be filled, but 'a black space' where the final outcome is 'forced upon the Painting by the vagaries of its own Nature and makeup: its environment and 'material' personality determine its image, its future, its relations within the world’.1 If Frank's technique appears ostensibly random or unpredictable however, such spontaneity belies a painstaking process of 'endurance and isolation'. As the luminous pools of pigmented varnish are poured onto the horizontal canvas and immediately begin to resist and coalesce, the artist must remain continuously attentive to the passing of time, the variations of climate, and the actions required by him at every stage adding more varnish or changing the angle of support as necessary. As Frank reveals, 'It is a totally hands on and cerebral way of painting ... The process can take up to twenty-four hours where I have to be permanently standing over the painting, constantly considering every minute aspect’.2 With his visionary eloquence and technical ingenuity, Frank occupies an esteemed position at the forefront of Australian contemporary art practice. Awarded the prestigious Red Cross Art Award by John Olsen at the tender age of 16, his was a precocious talent and within only five years, he had achieved international recognition with solo exhibitions across Australia, Europe and America. Significantly, in 1983, his work was selected for display alongside Thomas Lawson and Anselm Kiefer at the Museo Palazzo Lanfranchi in Pisa, Italy, and in 1984, he was included in the Aperto section of the Venice Biennale. In 2000, the Museum of Contemporary Art, Sydney mounted the touring survey exhibition of his work Ecstasy: 20 years of painting; in 2005, Frank won the Arthur Guy Memorial Painting Prize at the Bendigo Art Gallery, Victoria and in 2007, his achievements were documented in the magnificent monograph So Far: the Art of Dale Frank 2005-1980. Today, his paintings are held in every major public collection across Australia, as well as numerous private and corporate collections around the world. 1. Frank, D., cited in Chapman, C., 'Dale Frank: Performance into Painting', in Frank, D., So Far: the Art of Dale Frank 2005-1980, Schwartz City Publishing, Melbourne, 2008, p. 134 2. Frank, D., cited in Crawford, A., 'Dale Frank', Art &
Deutscher and Hackett
Mar. 10, 2019
Dale Leonard Frank, (Australian, b. 1959), Untitled, 1986, oil on canvas, 60 1/2" x 48"
Est: $2,000 - $4,000
Dale Leonard Frank (Australian, b. 1959) Untitled, 1986 oil on canvas signed and dated lower left 60 1/2" x 48"
Toomey & Co. Auctioneers
Dec. 02, 2018
painting: mixed media and collage on paper - composition - from frank dale leonard
Est: €450 - €2,000
Tableau: Technique mixte et collage sur papier (acc) -Compo- de (avis positif expert australien Cass Thompson) *FRANK D.* (Dale Leonard) (Australie 1959.) 65x70cm cadre alu s-v painting: mixed media and collage on paper - composition - from frank dale leonard
Monsantic.com
Oct. 21, 2018
painting: mixed media and collage on paper - composition - from frank dale leonard
Est: €750 - €2,000
Tableau: Technique mixte et collage sur papier (acc) -Compo- de (avis positif expert australien Cass Thompson) *FRANK D.* (Dale Leonard) (Australie 1959.) 65x70cm cadre alu s-v painting: mixed media and collage on paper - composition - from frank dale leonard
Monsantic.com
Sep. 02, 2018
painting: mixed media and collage on paper (crack) - composition - from frank dale leonard
Est: €1,000 - €2,000
Tableau: Technique mixte et collage sur papier (acc) -Compo- de (avis positif expert australien Cass Thompson) *FRANK D.* (Dale Leonard) (Australie 1959.) 65x70cm cadre alu s-v painting: mixed media and collage on paper (crack) - composition - from frank dale leonard
Monsantic.com
Aug. 28, 2018
DALE FRANK born 1959 Conara Cleveland Epping Forest 2006 synthetic polymer paint and varnish on canvas 200 x 260 cm
Est: $30,000 - $40,000
DALE FRANK born 1959 Conara Cleveland Epping Forest 2006 synthetic polymer paint and varnish on canvas signed and dated 'Dale Frank / 2006' verso 200 x 260 cm PROVENANCE Art Galleries Schubert, Surfers Paradise (label verso) Private Collection, Queensland Mrs Toni Lewis, Sydney, acquired from the above
Smith & Singer
Aug. 27, 2018
Dale Frank (b. 1959)
Est: $20,000 - $30,000
Gormanston Mt Lyell, Queenstown, 2006, signed and dated verso 'Dale Frank, 2006
Shapiro Auctioneers
Apr. 18, 2018
DALE FRANK, born 1959, SULPHUR CREEK PENGUIN, 2000 – 05, varnish on synthetic polymer paint on canvas
Est: $25,000 - $35,000
DALE FRANK, born 1959, SULPHUR CREEK PENGUIN, 2000 – 05, varnish on synthetic polymer paint on canvas SIGNED: signed and dated twice verso: Dale Frank / 2000/2005 DIMENSIONS: 200.0 x 200.0 cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (label attached verso, as ‘Jonathan Schaech, 2000’) Art Galleries Schubert, Queensland (label attached verso) Private collection, Queensland, acquired from the above in 2005 ESSAY: Dale Frank’s ultra-reflective and stunningly evocative chromatic canvases challenge our expectations of what painting is, or should be. Unperturbed by recent theory or passing fashion, Frank’s brilliance lies in his ability to create a contemplative and transformative space. In the mid-90s, Frank began utilising vitreous paints and varnishes, experimenting with the myriad physical possibilities that the medium unlocked. The performative nature of the materials, undoubtedly appealing to the artist’s origins as a performance artist in the 1970s, enabled Frank to engage with the viewer on a purely visceral level. In the tradition of Rothko, Frank demands full participation of the viewer, abandoning the customary role of artist as creator and audience as passive observer. The vast reflective canvas, adorned with explosive colour and lustrous varnish imposes itself on the spectator, who is actively enticed into its pictorial space. The gaze is reversed, as the glossy surface adopts the viewer as its own subject, embodying the artist’s notion of the painting as a dynamic living entity. Despite appearances, the organic and marbled rivulets of colour are far from accidental. Frank's magnificently loose applications of colour are in fact a careful orchestration of paint poured onto the canvas. Glistening streams of pigmented varnish are poured onto the horizontal painting, coalescing and solidifying, as the artist manipulates the bleeds of paint by means of wooden blocks and wedges placed underneath the canvas. Possessing a studied understanding of his materials, Frank reveals, ’It is a totally hands on and cerebral way of painting. The process can take up to twenty-four hours where I have to be permanently standing over the painting, constantly considering every minute aspect.’1 Frank’s painting titles, an apt insight into his acerbic and iconoclastic worldview, are employed for poetic affect. While they bear no tangible connection to the works themselves, they feed into the lyricism of his visual language. These outrageously specific titles, such as Sulphur Creek Penguin, 2000 – 05 allude to neither a real nor imagined subject, yet they act as psychological triggers, encouraging the viewer to reject the search for allegory, and instead to merely delight in the pleasure and power of looking. 1. The artist cited in Crawford, A., 'Dale Frank', Art & Australia, vol. 42, no. 2, Sydney, 2004, p. 214 MELISSA HELLARD
Deutscher and Hackett

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