Lot 67

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Sedon Galleries, Melbourne
The Estate of R. Thorogood
Private collection
Thirty Victoria Street, Sydney c. 1995 (label verso)
The National Australia Bank Art Collection

(Possibly) Sedon Galleries, Melbourne, 16 November 1927

(Possibly) Streeton, A., The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 926

Arthur Streeton's series of garden and flower paintings dating from the mid-1920s through to the late-1930s mark a high point in this important part of his oeuvre. They were inspired by the creation of gardens at his home in Toorak, Melbourne, and a rural property he purchased at Olinda in the Dandenong Ranges in 1921. According to his grandson Oliver Streeton, who had an intimate knowledge of his grandfather's life and work, the flower paintings 'successfully express [the artist's] deeply held feelings [for nature] through the simultaneous growing and painting of flowers.'(1)
Throughout his life, Streeton demonstrated a penchant for painting flowers and still life compositions and often spoke about his love of plants. However, it was not until they purchased a house at Grange Road, Toorak, in 1927, that he and his wife Nora were able to fully indulge their passion for gardening. Situated on the corner of Grange Road and Douglas Street, the substantial house 'Altadore' was reputedly built by English settlers during the early 1850s, making it one of the oldest in the area. The rambling garden featured mature trees including a large oak planted by the original owners. These plantings provided welcome areas of shade and privacy. They also framed the expansive areas of open space and allowed views to the distant Mt Macedon to the north (2). Streeton quickly set about making his own mark on the generous half acre of land. He converted the stables at the bottom of the garden into his studio and planted his favourite roses, climbers and annuals.
Agapanthus, c.1927 dates from this same period and is a beautifully proportioned and executed example of Streeton's work. The unusual combination of flowers - agapanthus stalks in full bloom, strap leaf and purple berries, the fruit of the native dianella, in the centre and the bright red-yellow bloom of day lilies in the rear, add a vibrancy and uniqueness to the work that resembles previous mixed floral arrangements such as Hydrangeas 1925. The vertical compositional structure and format also refer back to some of his earliest exhibited flower paintings such as the masterful Honesty and artichokes, 1889, an oil on cedar panel painting from the Wesley College Collection, Melbourne. The informal arrangement and individual brushstrokes are highlighted by their placement against the exposed cedar panel. In Agapanthus, c.1927, the purple agapanthus and green stems also pop out from the neutral void, creating a dancing cacophony of explosive colour and form.
A slightly larger work bearing the same title, subject and date as our work was included in an exhibition of his work held at the Fine Arts Societies Galleries, Melbourne, in March 1928. Although primarily showing landscapes, art critics focused on the flower studies which according to the Argus were noticeable for 'their fine qualities of colour and harmonious composition'. Agapanthus, Canterbury Bells and Bunch of Flowers were singled out as notable examples 'revealing rich colour schemes, vigorous treatment, and well thought out design.'(3) Three dynamic characteristics that are attributes of the current work and revealing of the artist's love for nature and its floral bounty.

Rodney James