(Australia 29 Jun 1894 – 25 Apr 1971)
50.5 x 45.5 cm stretcher; 70.6 x 65.5 x 6.0 cm frame
His was an exquisite art that mirrored the tranquillity of his life and the refinement of his tastes … in his flower pieces, his imagination found an outlet in combining man-made objects from other lands with flowers and growths of the sandstone belt of our eastern seaboard. These are not flower pieces in the common-place and finite sense; they are flower arrangements meticulously designed, superbly painted, and set in a related environment of time and space.
Douglas Dundas, 1971
Adrian Feint was a student at the Sydney Art School under Julian Ashton and Elioth Gruner, his painting practice extending from his work as a modern designer. As his subject in 'Flowers in sunlight' suggests, Feint’s still lifes have also been noted for their surreal quality, achieved through a synthesis of an almost analytical realism and the subdued mood of expansive backdrops, creating worlds of pure aesthetic illusion.
Herbert Badham, A gallery of Australian art, 'Introduction', pg. v-vii., Sydney, 1954, xii, (illus.). plate no. 72
Herbert Badham, A study of Australian art, Sydney, 1949, (illus.). plate no. 80; titled 'Flower piece'
Paula Dredge, Margaret Sawicki, Steven Miller and Lindsay Parker, S.A. Parker Framing Works, 'Works in the collection with known Parker frames', pg. 27-68, Sydney, 2004, 54 (illus.).
Richard Heathcote, Adrian Feint: Cornucopia, 'Chapter 1: Feint connections flourish: The Haywards, Adelaide and Adrian Feint', pg. 13-16, Kent Town, 2009, 13 (colour illus.).
Craig Judd, Art and Australia (vol. 32, no. 1), 'The art of Adrian Feint', pg. 78-83, Killara, Spring 1994, 80 (colour illus.), 81.
Craig Judd, Sydney moderns: art for a new world, 'Adrian Feint: a safer modernism?', pg. 110-113, Sydney, 2013, 110, 111 (colour illus.), 313, 321.
Margaret Olley and Barry Humphries, Favourites: Margaret Olley and Barry Humphries choose from public and private collections, Sydney, 2000. Catalogue entry appears in inserted list to printed catalogue: Selections by Barry Humphries
Ursula Prunster, Seeing is believing: the art in photography, 'Art Deco & Modernism', Sydney, 1985, (colour illus.). cat.no. 18; not paginated
Bernard Smith, 100 years of Australian painting, 'Foreword', pg. 2-4, Sydney, 1948, 9. cat.no. 45; titled 'Flowers in sunlight'
Sotheby's Australia, Sotheby's Sydney: Important Australian Art (31 August 2010), Melbourne, 2010, 160, 161 (colour illus.). RELATED WORK: 'Mixed flowers in the ram's head cornucopia vase' 1970, 42.5 x 37.5cm, private collection. This work is illustrated on page 160. It features the same ram head cornucopia featured in the Gallery's work.
Sydney Ure Smith (Editor), Art of Australia 1788-1941, New York, 1941, 42, 86 (illus.). cat.no. 97; asterix indicates work exhibited only in Canada
Society of Artists Annual Exhibition (1940), Education Department Gallery [Loftus Street], Sydney, 06 Sep 1940–25 Sep 1940
Art of Australia 1788-1941:
100 years of Australian painting (1948), Art Gallery of New South Wales, Sydney, 19 Apr 1948–17 May 1948
Travelling Art Exhibition 1953. Still life and flower paintings by Australian artists:
Seeing is believing - the art in photography, Art Gallery of New South Wales, Sydney, 13 Dec 1985–19 Jan 1986
Favourites: Margaret Olley and Barry Humphries choose from Australian collections (2000), S.H. Ervin Gallery, Sydney, 15 Jan 2000–27 Feb 2000
The art of the picture frame, Art Gallery of New South Wales, Sydney, 26 May 2003–12 Sep 2003