Rosalie Gascoigne (1917-1999) Flora Galop 1976 43 x 36 x 10cm (16 15/16 x 14 3/16 x 3 15/16in).
Lot 102
Rosalie Gascoigne (1917-1999) Flora Galop, 1976 43 x 36 x 10cm (16 15/16 x 14 3/16 x 3 15/16in).
Sold for AU$ 34,160 (US$ 31,649) inc. premium
Lot Details
Rosalie Gascoigne (1917-1999)
Flora Galop, 1976
signed with initials and dated 'R.G.'76' verso [signed at the time of first exhibition and dated with that year, 1976, but may have beem made the previous year]
assemblage of found wodden cabinet complete with door, inner wood frame, shards of china and hand coloured engraving, glued and screwed
43 x 36 x 10cm (16 15/16 x 14 3/16 x 3 15/16in).

Footnotes

  • PROVENANCE:
    Ray Hughes, Sydney, from 1977
    Purchased from Ray Hughes Gallery, Sydney in December 1987

    EXHIBITED:
    Rosalie Gascoigne - Assemblage, Gallery A, Sydney, 1976, cat. no. 27
    Objects, Ray Hughes Gallery, Brisbane, 5-24 March 1977
    The Laverty Collection, Museum of Contemporary Art, Sydney, 20 June - 23 August 1998
    Rosalie Gascoigne, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 19 December 2008 - 15 March 2009
    Laverty 2, Newcastle Regional Art Gallery, Newcastle, 14 May - 14 August 2011

    LITERATURE:
    John Murphy (editor) Gallery A Sydney 1964-1983
    Mary Eagle (editor) From the studio of Rosalie Gascoigne, The Australian National University Drill Hall Gallery, Canberra, 5 September - 8 October, 2000, p.45 (illus.) (not exhibited)
    Kelly Gellatly et al., Rosalie Gascoigne, National Gallery of Victoria, Melbourne, 2008, p.134 (illus.)
    Rosalie Gascoigne, exh. cat., The Ian Potter Centre, National Gallery of Victoria, Melbourne, 2008 p.55 (illus.)
    Laverty 2, exh. cat., Newcastle Region Art Gallery, Newcastle, 2011, p.5 (illus.)
    Martin Gascoigne, catalogue raisonne (in prep).

    The title 'Flora Galop' is a tease. Literally the title of a musical composition, it combines the springlike theme of the goddess Flora with the musical term 'galop', a fast movement forward such as is often used to conclude
    a divertissement in ballet. Gascoigne cut the hand-coloured engraving from a 19th century book of music she had found in a dump. She later gave the book to
    James Gleeson, possibly on the basis of sub-consciously associating his art with her surreal use of the book in this work. Flora Galop is a shock in a cabinet. Open the cabinet's door (the part that remains), and the delicately floral Flora does not gallop forward, rather, there is an explosion of flower petals. The petals' movement outwards is suggested by the gradation in size, spacing and tone between the pale, openly spaced outer petals and the smaller shards of coloured china clustered around the inner edge of the gasket that frames Flora. The gasket's elaborate shape swirls and eddies around the goddess like a gentle zephyr from the pastoral poetry Gascoigne had studied, loved and stored in memory. The found materials from which this work is made – the gasket possibly already fixed into the box, the dated music, broken china, myth and pastoral poetry – are redolent of the past. Gascoigne's art was to re-animate them into this unlikely spring.

    Mary Eagle
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