FRED WILLIAMS

Rudy Komon Gallery, Sydney
Collection of Raymond and Diana Kidd, Sydney; purchased from the above in 1984

Patrick McCaughey, Fred Williams, Bay Books, Sydney, 1980, pp. 104, 106 (illus.), fig. 110

This work appears to have its original frame - a gold painted timber frame with linen slip. Some surface dirt consistent with the work's age. A couple of minor fly spots in sky area.
"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."

The first group of landscapes Williams painted following his return from the United Kingdom in 1957 were developed from sketches made on a property near Mittagong, New South Wales.

There he spent several months exploring the edges of the Nattai National Park, refamiliarising himself with the uniqueness of the Australian landscape. According to Patrick McCaughey, 'trees and rocks were the twin motifs to which he was drawn; he sought images of solidity as a means of achieving solid, pictorial effects'.¹ The majority of these new works examined the bush close-up: Nattai River (1957-58, National Gallery of Victoria ) and Mittagong Landscape (circa 1958, private collection, formerly collection of Hal Hattam) are high-horizoned works in which the emphasis is on the foreground plane, and on subtle formal divisions within a dark, rich opalescent paint surface. In the present work, however, Williams describes a definite profile, an assertive landscape motif.

Mt Jellore is an extinct volcano that dominates the horizon near Mittagong – it was a significant feature in Major Thomas Mitchell's early mapping of the district. Here the mountain profile, described in broad touches of lemon and maroon rides in a bright sky above the lower, forward part of the picture plane, a subtly-modulated double band of trees and earth. This rare topographicalpanoramic view is quite literally a landmark in Williams's rediscovery of the Australian landscape, a mountain picture strangely prophetic of the Pilbara series of circa 1979-81.

1. Patrick McCaughey, Fred Williams 1927 - 1982, Bay Books, Sydney, 1987, p. 107