MAX DUPAIN

Joyce Evans, Melbourne
Private collection, Melbourne; purchased from the above in the late 1970s
Fine Australian and International Art, Sotheby's, Melbourne, 29 November 2004, lot 29
Private collection, Sydney; purchased from the above 

The work is framed in a silver aluminium frame with off white matt. The work has been viewed out of the frame and is not laid down. The work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Gael Newton, a leading authority on Australian photography, has commented: 'Max Dupain is synonymous with the ascendency, and acceptance of modern photography in Australia.'¹  Having begun his working life in commercial photography, Dupain's training in the visual arts and wide acquaintance in Sydney's artistic circles, quickly brought him recognition for a unique and distinctive style.  He broke completely with the romantic, pictorialist approach of much contemporary local photography.  Instead, he was one of the first to take inspiration from new European photography - using sharp focus, strong light and unexpected viewpoints to capture the essence of the modern era. 

During his long and distinguished career, Dupain took thousands of photographs - of artists, dancers, models, beautiful socialites and ordinary Australians; as well as of landscapes and the built environment.  Some of these are now the most popularly recognised images in Australian photography, including Sunbaker.  Dupain held solo exhibitions from 1930, both in Australia and internationally.  He has been honoured with a number of retrospective exhibitions - at the National Gallery of Australia, state galleries and elsewhere and is now represented in all major public collections of Australian photography. 

Dupain recalled the genesis of Sunbaker  in an interview with Helen Ennis, formerly Curator of Photography at the National Gallery of Australia, and believes that the image - now so famous- may have 'taken on too much' since he made the photograph in 1937.  '... It was a simple affair.  We were camping down the south coast and one of my friends leapt out of the surf and slammed down on the the beach to have a sunbake - marvellous.  We made the image and its been around, I suppose as a sort of icon to Australian life.'² 

1.  Gael Newton, 'Vintage Max', in Max Dupain: The Vintage Years, National Portrait Gallery of Australia, 2003 (www.npg.gov.au/exhibit/dupain/vintage.htm)
2.  Max Dupain, The Vintage Years, National Portrait Gallery of Australia, Canberra, 2003
3.  Max Dupain from a transcript of an interview between Max Dupain and Helen Ennis, 1 August 1991, published in Max Dupain: Photographs (exh. cat.), National Gallery of Australia, Canberra, 1991, p. 18