Lin Onus, a Yorta Yorta artist of Aboriginal and Scottish descent, represents a singular voice in Australia’s cultural life. Esteemed for his wit, talent and panache, Onus’s work is a negotiation of culture identity, using both Aboriginal and Western techniques to unsettle categorisation. After being racistly expelled from school at age fourteen, Onus worked as a mechanic and activist, before teaching himself to draw. He forged a style that combined photo-realism, surrealism and indigenous iconography. Not only was this reflective of his heritage, it also represented his attitude at large, which championed reconciliation over alienation. In ‘Reeds’, plants pierce the water’s surface. A tranquility reigns as Onus captures the rhythms of nature. Detailed, harmonic and impeccably composed, this work testifies to an artist whose artistic vision was only matched by his activism. Caught between different worlds, Onus wrote in 1990 that he hoped to be remembered as a “bridge between cultures, technology and ideas”. With representation in most major Australian collections and an OBE, it is undoubtable that he has. Because it is an experimental print, ‘Reeds’ is not editioned. For collectors of important Australian, Aboriginal and contemporary art, look deeper with this captivating image.

In Anne Marie Hall’s ‘Resting’, a figure falls across the page, salient against plumes of brown, orange, yellow and indigo ink. The artist avoids realism, forging a near abstract figure who is nonetheless absorbing. She is reminiscent of a tadpole – gliding through states and space. Alongside fellow modernists Joy Hester and Mirka Mora, Hall forged a compelling voice in an otherwise male dominated crowd. She has been collected by The National Gallery of Australia, the Ian Potter Museum and the Geelong Gallery, representing a unique and collectable perspective into Australian modernism. For collectors of mid-century art and female artists, ‘Resting’ is a remarkably beautiful find.

Despite being heralded as a visionary of Australian art, Clarice Beckett led a small life. She never married, caring for her invalid mother in the Bayside suburb of Beaumaris before her premature death at age forty-eight. Posthumously, her father destroyed 200 of her works that he considered unfinished or “not good enough”. The remaining 2000 were stored in an open-sided shed near Benalla, only to be discovered decades later; by then only 379 were salvageable, the rest laid to rest by bad weather and possums. For critic John McDonald, this was “among the great disasters of Australian art history”. Indeed, Beckett’s work represents some of the most poignant in Australia’s art canon. Favouring early morning and evening, she painted Melbourne’s suburbs as though they contained a universe of meaning. Works like ‘Yellow Leaves, Alexandra Parade’ are hazy and immediate – a reflection of how it feels to succumb to one’s senses. While aesthetically minimal, a metaphysical dimension lingers, a quiet depth of feeling that is nothing short of miraculous. In 2021, the Art Gallery of South Australia held a major retrospective of Beckett’s work. McDonald visited three times, irrevocably moved. He wrote that if the same exhibition was at the Tate Modern or the Museum of Modern Art, Beckett would be “hailed as a figure of world renown”. If only it wasn’t for her family disapproval. What her work teaches however, in its assiduous reverence of the everyday, is that dignity exists even in the smallest lives. She caught the eternal in the temporal. For collectors of important Modernist and female artists, Beckett is a gift. This work is a screenprint rendition of an original painting, printed by master printmaker Michelle Perry at Marnling Press and published by Clarice Beckett Images. Perhaps you also see the profound in the streets you walk.

Charles Blackman’s ‘Midsummer Night’s Dream’ is a visual epic. In six vignettes, the play’s drama unfurls, its themes of love, the carnivalesque and the problem of time dancing across Blackman’s nimble hand. Blackman, in a way particular to him, was fascinated by storytelling – its ability to understand nuance, inspire and give shape to the events that plot our lives. Whether personal, cultural or mythic, he spent his career at the beck-and-call of great storytelling. In ‘Midsummer Night’s Dream’, from the highly-regarded ‘Garden Suite’, this penchant for story is clear. For collectors of Blackman and classical art, get in quick — the curtains are about to draw.

When reflecting on her practice, Cressida Campbell cites Edgar Degas’s maxim that you should never paint anything you don’t love – “it doesn’t have to be beautiful in any way, but it has to be something you love to examine,” Campbell concludes. In ‘Resting Butterfly’ she inspects a swallowtail butterfly. The regal creature rests on a leaf, its extravagant wings blinking, undisturbed by Campbell's presence. The fruit of labour and time intensive processes, this work is the embodiment of patience – reminiscent of Japanese woodblock printing, Campbell’s friend Margaret Olley and the hazy bliss of a spring day, metamorphosis in the air. A master in her field, Campbell is represented across national and international collections, including at the National Gallery of Victoria and British Museum. She has a devout collector following, is a multi-award winner and the subject of a major retrospective at the Art Gallery of New South Wales and National Gallery of Australia. ‘Resting Butterfly’ is a quiet revelation, born in Campbell's belief “Art is the best way to restore one’s spirit."

Anne Hall was part of the Heide circle – an iconic group of artists who included Charles Blackman, Sidney Nolan and Hall’s husband, John Perceval. Like these artists, Hall pursued Figurative Expressionism, bringing with it her own unique ability to incise her subject’s soul. In ‘Rebirth’, she draws a figure in evolution. Intriguingly ambiguous, their face is pared back to two small and unsettled eyes. Colour blossoms across their torso – oranges give way to red, blue and violet, bleeding from the heart to the face. It is as though a fire burns within the rib cage, or perhaps they are emerging from a cocoon, shedding their exoskeleton to take a new form. Hall leaves it unclear, provoking the idea of new beginnings and allowing the viewer to make their own meaning of the clouds’ shapes. Like Joy Hester and Mirka Mora, Hall forged a compelling female voice in an otherwise male dominated space. That her career was at times overshadowed by her marriage is a testament to Modernism’s issues with gender parity. Now, collected by The National Gallery of Australia, the Ian Potter Museum and Geelong Gallery, her absence is being redressed. For collectors of Modernist Australian art and those searching for a unique insight into the Antipodean movement, Hall is a rewarding find. While the road ahead may be uncharted, ‘Rebirth’ forecasts open skies.

Tommy Watson is a Pitjantjatjara elder of the Western Central Desert and a leading contemporary Aboriginal artist. Watson’s work reflects a deep and transcendent connection to country. Favouring a diverse and explosive colour pallette, Watson depicts dreaming stories of his country known as the ‘tjukurrpa.’ While the meanings of these stories are kept private, these works nonetheless captivate us. Viewers have the opportunity to experience the works intuitively, engaging with the art and landscape in an entirely personal and subjective way. This print is created with the finest museum quality archival materials and is hand signed by the artist. A limited edition, it comes with a Certificate of Authenticity from the publisher so that you can document your collection. This artwork would sure to be a lively and bold addition to any collection.

Lewis Caroll’s Alice recurs throughout Charles Blackman’s work, transformed into a symbol for his former wife, Barbara Blackman’s, diminishing eyesight. In ‘Alice in the Garden’, she is enclosed by a garden in full bloom. The White Rabbit, said to be Blackman himself, peeks from the foliage, a potion slipping into space. Gentle and gloriously whimsical, ‘Alice in the Garden’ is an image of inspiration, love and disorientation. Blackman adored gardens – he spent much of his childhood in the garden and it has been said, spent his career painting back to it. Printed as part of a portfolio of five prints, published by Nadine Armadio for Blackman’s seventieth birthday. Hand-signed and visually striking, ‘Alice in the Garden’ is an engrossing find for collectors of Blackman.

Colin Wasi is an artist from the Western Australian Walmajarri Language group. In his words, his work is about the grass, trees and waterholes that sprout in the desert, “where I used to walk as a young man going hunting with family”. This striking painting depicts the town of Fitzroy Crossing in the Kimberley Region. Trees border a waterway, backed by bright yellow dots against terracotta. Beautifully executed and rich in cultural and personal significance, ‘Untitled’ is a tribute to country, a compelling find for collectors of Aboriginal art.

Kym Hart, the second eldest son of Pro Hart, grew up surrounded by art. He started painting at an early age, developing a practice that recalls and expands his father’s legacy – images of the Darling River System, billabongs, mines and the town of Broken Hill. ‘Dragonfly’ features on the Hart’s most iconic motifs. In it, a droll dragonfly occupies the bullseye of a gold backdrop. Ensnared in shafts of white, it looks beseechingly at the viewer – both a comic character and formal experiment. Having travelled from the centre of Australia to the tropical north, desert and along the coast, Hart remains most inspired by Broken Hill. He has completed commissions for various companies including Broken Hill airport, exhibited nationally and internationally, and found an avid collector following. For collectors of the Harts and Australian art, ‘Dragonfly’ is a catch.

‘Elizabeth’s Garden II’ is a vision of tranquillity. Jeffery Makin, described by John Olsen as having “given yourself to the landscape”, looks into his wife’s garden. He treats the domestic ecosystem with as much reverence as he does the grandness of the desert or rainforest. Shrubbery blooms up the page, cool and quiet. Makin is represented across national, state and most regional collections, including at the National Gallery of Australia, National Gallery of Victoria and Parliament House. For collectors seeking a moment of tranquillity or a bushwalk from home, ‘Elizabeth’s Garden II’ is a beautiful find.

Anyone who has travelled into the Australian landscape will recognise its magnetism. At once unyielding and symphonic, its varying, vast and sometimes alien terrain has transfixed generation after generation of artists. Today, the living leader of this tradition is Jeffrey Makin, who out in the plein-air distils the ‘spirit-of-place’. For Mr. Makin, the landscape offers complexity, history and personality. In his ‘portraits’ of natural landscape, he carves out their character, knowing better than most how much experience defines place. Whether you crave nature, or just know the value of a good view - Mr. Makin’s landscapes will help your soul and home. He’s a genius when it comes to genius loci - a term meaning essence of place that has held resonance since Ancient Rome. Considered the heir of the Heidelberg school, Mr. Makin is represented in all national, state and most regional and corporate collections.

Butterflies possess a dual resonance in Charles Blackman’s work. They are on one hand, symbols of transformation – the exquisite result of a metamorphosis from caterpillar to cocoon to butterfly. They also, on the other hand, connect to Blackman’s iconic ‘Alice in Wonderland’ series. In ‘Butterfly’, this duality is present. Eyes peer through the creature’s wings, perhaps Alice has been transfigured into an insect? Or maybe the butterfly is part person, a visual metaphor for the changes we all endure. Brilliantly coloured and as always curious and curiouser, ‘Butterfly’ is a beguiling image. Blackman stands among Australia's most beloved and collectable artists. With a career as distinct as it is diverse, his work is consistently informed by a sense of childlike wonder. For fans of Blackman and butterflies, let this work flutter into your collection.

Flowers are with us in the best and worst of times. They commemorate a milestone, console a loss, betray the changing of seasons and wilt, a harbinger of disease. In his series of flowers, acclaimed Jewish-Australian artist Victor Majzner considers this brevity of symbolism. He reflects that “Flowers play a significant part in every human rite of passage”. In ‘Midmorning’, a European flower hangs above the Australian landscape, a flushing sun; a disembodied hand and hat emanating from its core. This is a metaphor for the European colonisation of Aboriginal peoples: “Even the gift of flowers can be treacherous”, says Majzner. There is also a warning here to heed the threat humans pose against the environment. The presence of a hat links to Majzner’s Jewish heritage. Not only have migrant Jewish communities been the backbone of the garment industry, but the artist also perceives an analogy between concealing clothing and the Jewish experience. ‘Midmorning’, which recalls a tarot card, foretells of good and bad tidings. It reminds of a violent history, while proffering some optimism. The white light of early morning caramelises into gold; a new day arrives, giving us the opportunity to heal from the wounds inflicted by history. An accomplished artist, Majzner is represented in numerous public collections, including at the National Gallery of Australia, the National of Victoria and the Art Gallery of New South Wales. For collectors of surrealist and socially conscious art, let ‘Midmorning’ open your collection’s horizons.