Margel Hinder Paintings & Artwork for Sale | Margel Hinder Art Value Price Guide

Aug. 26, 2024
Margel Hinder, Australia (1906-1995), Sketch - Western Ass. Co. 1959, Copper, shim & solder on timber base
Est: $2,000 - $4,000
Margel Hinder Australia (1906-1995) Sketch - Western Ass. Co. 1959 Copper, shim & solder on timber base Signed to base
Theodore Bruce Auctioneers & Valuers
May. 28, 2024
FRANCIS HINDER, (1906 - 1992), Portrait Of Margel - 1972, oil on card, 36 x 27 cm (frame: 57.5 x 47.5 cm)
Est: $4,000 - $6,000
FRANCIS HINDER (1906 - 1992) Portrait Of Margel - 1972 oil on card signed and dated lower right "FH 72"
Lawsons
May. 03, 2023
MARGEL HINDER, MAQUETTE (ADELAIDE TELECOMMUNICATIONS BUILDING), 1971
Est: $65,000 - $85,000
MARGEL HINDER (1906 - 1995) MAQUETTE (ADELAIDE TELECOMMUNICATIONS BUILDING), 1971 beaten copper and copper pipe on wooden base 120.0 x 65.0 x 82.0 cm PROVENANCE James Baker, Brisbane The James Baker Collection, Christie’s, Brisbane, 2 March 1996, lot 386 William (Bill) Burge, Sydney The W. R. Burge Collection, Christie’s, Sydney, 6 March 2006, lot 40 (as ‘Untitled’) Private collection, Sydney, acquired from the above EXHIBITED Marland House Sculpture Competition, Age Gallery, Melbourne, June – July 1971, cat. 29 Frank and Margel Hinder 1930 – 1980, Art Gallery of New South Wales, Sydney, 12 June – 13 July 1980 LITERATURE Lynn, E., ‘Big business peps up the sculptors’, The Bulletin, Sydney, vol. 93, no. 4761, 26 June 1971, p. 50 Free, R., Frank and Margel Hinder 1930 – 1980, Art Gallery of New South Wales, Sydney, 1980, cat. M80, pp. 61, 71 (illus., as ‘Marland House Sculpture Competition’) Cornford, I., The Sculpture of Margel Hinder, Phillip Matthews Book Publishers, Sydney, 2013, pp. 104, 105 (illus.), 107 RELATED WORK Sketch for ‘Three Form Revolve – Form 1’, 1969, copper shim, brass, solder, in the collection of the Bathurst Regional Gallery, New South Wales Untitled (Free Standing Sculpture), 1972 - 1973, Lyten steel and stainless-steel tubing, Telecommunications Building, Adelaide ESSAY By the 1970s, Margel Hinder had an established reputation as a modernist sculptor and like Barbara Hepworth, now invested her considerable talent in public sculpture. Both artists were conceptually ahead of their peers and confident of the role of the contemporary artist in the post-war reconstruction boom, with Hinder becoming one of the few women to create site-specific industrially fabricated sculpture in Australia. Hinder entered her soldered maquettes into numerous sculpture competitions for architectural, monumental and public art, winning those leading to the creation of sculptures for the Reserve Bank, Sydney; the Civic Park Fountain in Newcastle; and in Woden Town Square, Canberra. Thus Hinder’s artworks, at the height of their innovation and impact, were experienced and enjoyed directly by everyday Australians, their dynamic and futuristic forms complementing the roaring progress of urban and technological development. Working within the framework of Dynamic Symmetry, Hinder’s conception of sculpture was deeply rooted in three-dimensionality. This copper maquette relates to a public sculpture commissioned for the forecourt of the Waymouth Street Adelaide Telecommunications exchange building.1 A complex ovoid, its open form is dynamic with implied centrifugal motion. Ringed like a planet, the criss-crossing and acentric ribs of this ‘revolve’ presented a pleasing expression of interconnected, encircling energies. Found to be an apt metaphor for global telecommunication, this sculpture fortuitously appealed to the architect of a $6M building project, facilitating its large-scale commission and installation in 1972. In 1947, Frank and Margel purchased Vision in Motion, a landmark publication on International Constructivism written by avant-garde Russian émigré artist Naum Gabo. Gabo’s radical incorporation of implied movement into modern sculpture informed Hinder’s of acentric stringed forms and a ‘space-age’ constructivist aesthetic. As Renée Free noted in 1980, Hinder followed Gabo’s preference for transparency to convey movement without actual motion.2 The linear forms of this maquette elegantly enclose space, their transparency creating an effect of lightness and free flowing motion apparently independent of gravity. Much larger than Hinder’s previous maquettes, this sculpture’s scale is monumental in its own right, encouraging immersive attention to its flow of internal oval forms, the looping ribbons revolving as the viewer walks around the work. This monumentality prompted Elwyn Lynn to remark the work ‘seemed too demanding of space and perhaps needed isolation like a Henry Moore on the hillside.’3 This Adelaide Telecommunications maquette is realised in plate and tubed copper, providing a harmonious textured grey-green patina quite distinct from the gleaming contrast of polished stainless-steel and rusted Lyten steel in its monumental counterpart. This maquette escaped the need for additional stabilising struts at the base, balancing instead on crossed wires. Being viewed completely in the round, this maquette can be enjoyed as Hinder intended, with internal and external graduated ovals seizing light and shadow, concavities and tunnels introducing inner lightness and a hint of the transcendental. 1. Although initial entered to a sculpture competition in 1971 for Melbourne’s Marland House (won by Ken Reinhard), this Maquette formed the basis of a different commissioned public sculpture, erected in Adelaide in 1972. 2. Free, R., Frank and Margel Hinder 1930-1980, Art Gallery of New South Wales, Sydney, 1980, p. 54 3. Lynn, E., ‘Big business peps up the sculptors’, The Bulletin, Sydney, 26 June 1971, p. 50 LUCIE REEVES-SMITH
Deutscher and Hackett
May. 03, 2023
MARGEL HINDER, WOMAN, ALSO KNOWN AS WOMAN CARRYING BASKET, 1938
Est: $30,000 - $40,000
MARGEL HINDER (1906 - 1995) WOMAN, ALSO KNOWN AS WOMAN CARRYING BASKET, 1938 New Guinea wood 50.0 x 15.0 x 17.0 cm PROVENANCE Robert Klippel, Sydney, acquired directly from the artist Private collection, Sydney EXHIBITED Frank and Margel Hinder Retrospective, Newcastle City Art Gallery, New South Wales, 30 August – 30 September 1973, cat. 2 Five Decades: Frank Hinder, Paintings, Margel Hinder, Sculptures, Gallery A, Sydney, 7 – 28 June 1980, cat. 1 (as ‘Woman Carrying Basket’) Margel Hinder: Modern in Motion, Art Gallery of New South Wales, Sydney, 30 January – 2 May 2021 and Heide Museum of Modern Art, Melbourne, 30 June – 10 October 2021, cat. 5 LITERATURE Cornford, I., The Sculpture of Margel Hinder, Phillip Matthews Book Publishers, Sydney, 2013, p. 40 (as ‘Woman Carrying Basket’) Harding, L., and Mimmocchi, D., (ed.), Margel Hinder: Modern in Motion, Art Gallery of New South Wales, Sydney and Heide Museum of Modern Art, Melbourne, 2021, pp. 116 (illus.), 178 ESSAY American-born sculptor Margel Hinder cut a unique figure in the modern art scene of Sydney when she arrived on the S. S. City of Rayville, beside her husband Frank, in July 1934. Having had a privileged middle-class upbringing particularly supportive of artistic pursuits, the young Hinder was devotee of the modernist and theosophic theories of Vitalism and Dynamic Symmetry, encountered through the teachings of Howard Giles and Emil Bisttram. Both Margel and Frank followed Bisttram to Taos, New Mexico, to participate in his experimental summer school in 1933. This sojourn proved to be formative experiences for both artists, informing their adoption of geometric abstraction and introducing them to the revolutionary social realism of the Mexican New Order (Bisttram having studied mural painting alongside Diego Riviera). Applying these concepts to wood carvings upon her return to Australia, Hinder demonstrates a strong influence of these artists, whose teachings she shared keenly with her new artist friends. Although Hinder had been disappointed by Australia’s retrograde notions of modern art and continuously fought against the ‘little understanding of, or desire for the three-dimensional’,1, by the close of the 1930s, she encountered like-minded internationally engaged artists in the George Street studio of the Crowley-Fizelle School. Margo and Gerald Lewers in particular, provided tutelage in carving and deepened Hinder’s awareness of the precept of ‘truth-to-materials’ and ‘purified forms’, as advocated Henry Moore and Barbara Hepworth, whom the Lewers had recently met in England.2 Woman, or Woman Carrying Basket, is a simple character study of a woman at work, carved directly from a block of New Guinean hardwood. 3 This sculpture belongs to a small group of figurative works, carved in relief panels or in freestanding forms, local tableaux of work and rural lifestyle, inspired by the local Pueblo women of Taos. The Hinders’ fascination with this first nations community was founded on an admiration for their traditional way of life, considered to be an ancient and unadulterated connection to the land and its natural cycles. Hinder carved the first of these works, Taos Women, during her long boat journey back to Australia, quickly followed by a freestanding figure, Pueblo Indian. Characterized by simplified blocky forms, the governing geometry of these sculptures attempted to convey the movements and inner metaphysical life forces of her subjects. Woman is a later harmonious and resolved synthesis of these diverse artistic and philosophical theories from Taos. Carrying a basket on her head in the same pose that can be seen in both Taos Women and Pueblo Indian, the heavy rounded forms of Woman are elegantly carved, with forms blending imperceptibly in the smooth surface. Hinder’s anonymous woman is proud, her striding stance determined in its progress, the rhythmic folds of her skirt reinforcing the directing lines of her upheld arm. Romanticizing manual labour and social enterprise with an archetypal and easily legible figurative form, Woman becomes a robust and idealized example of physical vitality. In the face of institutional disdain for sculpture, and systemic sexism, Margel Hinder became an extraordinarily successful artist. At a time where modelling was the preferred form of sculpture, Hinder created opportunities for herself to be on the forefront of progressive practice, becoming ‘an excellent example of a modern woman who can successfully combine a career and the running of a home’.4 1. Hinder, M., ‘A Personal view. 1930 – 1940’, Australian Women Artists. One Hundred Year 1840 – 1940, Melbourne University Union, Melbourne, 1975, p. 19 2. Harding, L., and Mimmocchi, D., (ed.), Margel Hinder: Modern in Motion, Art Gallery of New South Wales, Sydney and Heide Museum of Modern Art, Melbourne, 2021, p. 39 3. ‘“the harder the wood the more pleasure there is in the work”. Most of the wood Mrs. Hinder uses is sent from a plantation in New Guinea’, Page, M., ‘She Sculptures in Wood’, Sydney Morning Herald, Sydney, 13 November 1939, p. 2 4. Page, M., ibid LUCIE REEVES-SMITH
Deutscher and Hackett
Jun. 30, 2020
MARGEL HINDER (1906-1995) Maquette steel, paint
Est: $800 - $1,200
MARGEL HINDER (1906-1995) Maquette steel, paint Signed verso lower right: M HINDER 23 x 35.5 x 3.5cm PROVENANCE: The Artist Private collection, Queensland
Leonard Joel
Oct. 09, 2019
MARGEL HINDER (1906-1995) Model for Interlock 1973-1979 steel and timber sculpture
Est: $600 - $800
MARGEL HINDER (1906-1995) Model for Interlock 1973-1979 steel and timber sculpture 37 x 47 x 46 cm PROVENANCE: Gift of the artist to her daughter Mrs Enid Hawkins, Sydney Sotheby's, Sydney, 15 April 2014, lot 254 Private collection, Melbourne OTHER NOTES: During summer school in America in 1930, Margel met her future husband Frank Hinder which began a partnership of mutual artistic respect and love. In the 1940s she experimented with abstract forms and her later works included "revolving sculptures through whose interlocked forms spaces changed and changing shadows were cast. Nature, such as spider webs, often inspired her work". Margel Hinder and her sculpture have been neglected in standard accounts of Australian art history, despite the excellence of her work. Caught up in a parochial rejection of international modernism as a threat to national identity, that effectively extended over many decades, in the 20th century, she and fellow artists Frank Hinder, Grace Crowley, Rah Fizelle and Ralph Balson because casualties of the earlier, political 'culture wars'. (Ian Cornford)
Leonard Joel
Nov. 21, 2018
Margel Hinder (1906-1995)
Est: $3,000 - $5,000
Freeform, c. 1964, bronze, edition of 4, cast 1995
Shapiro Auctioneers
Nov. 29, 2017
FRANK HINDER, (1906 – 1992), MARGEL HINDER AND GERALD LEWERS, 1947, watercolour on paper
Est: $5,000 - $8,000
FRANK HINDER, (1906 – 1992), MARGEL HINDER AND GERALD LEWERS, 1947, watercolour on paper SIGNED: dated and inscribed lower right: HINDER & LEWERS – 47 bears inscription verso: Margel Hinder & Gerald Lewers 1947 DIMENSIONS: 27.0 x 34.0 cm PROVENANCE: Toorak Galleries, Melbourne Private collection, Victoria
Deutscher and Hackett
Aug. 30, 2017
MARGEL HINDER, (1906 1995), MODEL FOR CANBERRA REVOLVE, 1961, steel wire
Est: $4,000 - $6,000
MARGEL HINDER, (1906 1995), MODEL FOR CANBERRA REVOLVE, 1961, steel wire DIMENSONS: 35.0 x 39.0 cm PROVENANCE Private collection The Estate of the late James O. Fairfax AC, New South Wales EXHIBITED: Frank and Margel Hinder 1930-1980, Art Gallery of New South Wales, Sydney, 12 June 13 July 1980, cat. M77 LITERATURE: Free, R., Frank and Margel Hinder 1930-1980, Art Gallery of New South Wales, Sydney, 1980, cat. M77, p. 60 RELATED WORKS: Revolving Sphere, 1962-63, stainless steel and motor, installed 1963 in the Monaro Mall, Civic Centre, Canberra (later destroyed).
Deutscher and Hackett
Dec. 10, 2015
MARGEL HINDER (1906-1995) Maquette for Growth Forms 1958-59
Est: $3,000 - $4,000
MARGEL HINDER (1906-1995) Maquette for Growth Forms c1957 copper and shim 23.0 cm height
Menzies
Apr. 15, 2014
MARGEL HINDER 1906-1995 Model for Box Construction, circa 1982 synthetic polymer on plaster
Est: $2,000 - $4,000
MARGEL HINDER 1906-1995 Model for Box Construction, circa 1982 synthetic polymer on plaster 28.5 x 45 x 39 cm PROVENANCE Gift of the artist to her daughter Mrs Enid Hawkins, Sydney LITERATURE Ian Cornford The Sculpture of Margel Hinder, Philip Matthews Book Publishers, Sydney, p. 95 (illustrated) PROPERTY FROM THE FRANK HINDER COLLECTION, SYDNEY
Smith & Singer
Apr. 15, 2014
MARGEL HINDER 1906-1995 Model for Interlock (1973-1979) mild steel
Est: $2,000 - $4,000
MARGEL HINDER 1906-1995 Model for Interlock (1973-1979) mild steel 37 x 47 x 46 cm PROVENANCE Gift of the artist to her daughter Mrs Enid Hawkins, Sydney
Smith & Singer
Mar. 06, 2006
MARGEL INA HARRIS HINDER (1906-1995)
Est: $10,000 - $15,000
Untitled beaten copper and copper pipe on wooden base 120 x 65 x 82 cm
Christie's