Who is this cowboy? Steve Rosendale’s work is a collage of cinematic subterfuge. He draws on the collective memories of popular culture, setting up mise en scenes that feel both mysterious and familiar.

An out-of-towner, motel resident or just someone passing through? As Rosendale takes a cowboy to a motel, he fuses vintage motifs. The effect is iconic. What’s going to happen?

Since the early 2000s, Rosendale has exhibited regularly across Melbourne, Sydney and Brisbane. A finalist in the Doug Moran National Portrait Prize, his work graces the walls of corporate and private collections in Australia and overseas, sparking the imagination of all who view it.

For collectors of pop art and connoisseurs of vintage culture, behold ‘Westwood’.

Clayton Tremlett is an contemporary Australian printmaker whose work is influenced by the country's historical narratives. In this print, the artist celebrates two heroes from different eras. In 'The Courage to Stand Against', an engraving of infamous Ned Kelly is juxtaposed with the bulldog, a contemporary celebrity mascot of AFL fame. Tremlett has taken two mass-produced images, which for better or worse, are a part of Australian popular culture, encouraging viewers to re-interpret our past and our present.

An innovator in printmaking techniques, Tremlett has exhibited extensively across Australia and is represented in the National Gallery of Australia, Geelong Gallery, Mornington Peninsula Regional Gallery, Bendigo Art Gallery among other public and private collections nationally and internationally. For examiners or enjoyers of Australian history, Tremlett is a rewarding find.

Adam Cullen merges social satire with technicolour excess. An ‘enfant terrible’ of the art world, he launched onto the Australian art scene by chaining a pig’s head to his ankle for two weeks. This punk stunt was followed by a career spent painting tough, uncompromising and challenging subjects, captured with a pop art twist.

In ‘Ned Kelly at Glenrowan (Stand and Deliver)’, Cullen calls on a rebel of the Australian imagination – Ned Kelly. Dripping against an egg yolk backdrop, the artist’s rendering is both cartoonish and confronting, a gun aimed in his left hand. Kelly is both an agent of violence and a familiar icon – bold, but dangerous.

Exploring masculinity, crime and animalism, Cullen’s work is imbued with an unexpected vulnerability. In his lifetime, he was a winner and multi-time Archibald Prize finalist, honoured with a 2008 retrospective at the Art Gallery of New South Wales and an Art Hotel in Prahran, cementing him as one of Australia’s foremost contemporary artists.

Hand-signed and limited edition, this work will invigorate collectors of pop and contemporary art or those seeking an edge for their space.

Steve Rosendale’s ‘Clint’ is a portrait of Clint Eastwood in ‘Dirty Harry’. He is staring down the barrel of the camera, a S&W Model 29 inch 44 Magnum in his hand. The scene is iconic, scored by the famous line:
“I know what you’re thinking. ‘Did he fire six shots or only five?’ Well, to tell you the truth, in all this excitement I know I lost track myself. But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you’ve gotta ask yourself one question: ‘Do I feel lucky?’ Well, do ya, punk?”

Rosendale is inspired by the collective memories of popular culture. He sets up enthralling mise-en-scenes, elongating a flicker of film into an entire universe. A sense lingers that something is happening just beyond the frame.

Since the early 2000s, Rosendale has exhibited regularly across Melbourne, Sydney and Brisbane. A finalist in the Doug Moran National Portrait Prize, his work graces the walls of corporate and private collections in Australia and overseas. For collectors of pop art and those feeling lucky, face off with the glint of ‘Clint’.

Adam Cullen merges social satire with technicolour excess. An ‘enfant terrible’ of the art world, he launched onto the Australian art scene by chaining a pig’s head to his ankle for two weeks. This punk stunt was followed by a career spent painting tough, uncompromising and challenging subjects, captured with a pop art twist.

In ‘Kelly in Drag’, Cullen calls on a rebel of the Australian imagination – Ned Kelly. Dripping in a dress against a rainbow backdrop, the artist’s rendering is both subversive and cartoonish. A noose hangs beside Kelly over a box marked ‘opium’ – dark, intriguing and dramatic. Believing himself to also be an outcast, Cullen resonated with Kelly’s outlaw status.

Exploring masculinity, crime and animalism, Cullen’s work is imbued with an unexpected vulnerability. In his lifetime, he was a winner and multi-time Archibald Prize finalist, honoured with a 2008 retrospective at the Art Gallery of New South Wales and an Art Hotel in Prahran, cementing him as one of Australia’s foremost contemporary artists.

Hand-signed and limited edition, this work will invigorate collectors of pop and contemporary art or those seeking an edge for their space.

Philippe Le Miere’s ‘Study for Alice in Kellyland’ merges two icons of Australian modernism: Charles Blackman’s Alice of Wonderland and Sidney Nolan’s Ned Kelly. What relation do these (anti)heroes bear? One is a blonde girl plucked from a British children's book and the other is an infamous Australian outlaw, condemned to the gallows.

Like the Phantom of the Opera, Alice’s face is half shielded by Kelly’s iconic helmet. Both she and her bushranger can be understood as symbols for Australian modernism, painted by Blackman and Nolan as experimentations with the boundary between myth and reality. Alice symbolised Blackman’s wife, Barbara Blackman, while Nolan identified with the outcast Kelly. Where does the legend end and history begin?

Bright and bold, Philippe Le Miere’s ‘Study for Alice in Kellyland’ reinterprets Australian modernism by merging the whimsy of Blackman’s Alice and the defiance of Nolan’s Ned Kelly. In this original painting, Le Miere invites viewers to wonder at Kellyland, where the fusion of these cultural icons opens up new paths for exploration.

Core to Sidney Nolan’s legacy is his extraordinary ability to merge myth with modernism. Known for his iconic depictions of the bushranger Ned Kelly, Nolan captured stories of loss, failure, capture, and redemption—drawing equally from Australian history and universal human experience. His vision of Kelly has become emblematic of Australian identity: bold, ambiguous, and haunting.

Nolan’s practice defied categorisation—fluid across medium, subject, and mood—but consistently returned to the figure of the underdog. The scene pictured shows the moment Justice Redmond Barry delivered Ned Kelly’s sentence, infusing the work with both pathos and provocation.

This screenprint is based on an original painting on composition board created with the atypical enamel car paint which would become Nolan’s signature. It belongs to the renowned Kelly series, which Nolan initially left to Sunday Reed before later demanding their return. The eventual compromise saw the series donated to the National Gallery of Australia, where it remains one of the institution’s most celebrated holdings.

The print itself was published by Marlborough Graphics, London, in 1970–71, predating the series' donation to the NGA in 1977. It was produced by Kelpra Studios—key figures in the 1960s and ’70s London print scene—whose editions are now held in institutions like the V&A. It’s a fine example of how high-quality prints can offer accessible entry points into major art historical narratives.

Nolan is represented in every major state gallery in Australia, as well as internationally at MoMA in New York and Tate in London. Elegant and enigmatic, this work is a rare opportunity for collectors of important Australian art, especially those drawn to the tension between national myth and modernist experimentation.

Clayton Tremlett is an contemporary Australian printmaker whose work is influenced by the country's historical narratives. In ‘Beard and Influence’, the artist emulates the nation’s infamous bushrangers, and their facial hair, in this series of self-portraits.

Across a span of three years, Tremlett delved into the tales of the notorious figures like Ned Kelly, akin to the legendary folklore of Robin Hood. In the classic tale, the bandit is considered both hero and villain – a contradiction that pervades the stories of the local bushrangers. Understanding the performative aspect of the occupation, Tremlett explores how facial hair can inform perceptions of masculinity and if its shape can indicate goodness.

An innovator in printmaking techniques, Tremlett has exhibited extensively across Australia and is represented in the National Gallery of Australia, Geelong Gallery, Mornington Peninsula Regional Gallery, Bendigo Art Gallery among other public and private collections nationally and internationally. For examiners or enjoyers of Australian history, Tremlett is a rewarding find.

Adam Cullen merges social satire with technicolour excess. An ‘enfant terrible’ of the art world, he launched onto the Australian art scene by chaining a pig’s head to his ankle for two weeks. This punk stunt was followed by a career spent painting tough, uncompromising and challenging subjects, all captured with a pop art twist.

In ‘Constable Fitzpatrick with Ned Kelly in Night Attire’, Cullen depicts an infamous confrontation. In 1878, when attempting to arrest his brother, Constable Fitzpatrick was shot by Ned Kelly. Cast in a vivid palette, Cullen captures the moment before – Kelly is caught without his iconic helmet, startled from his slumber.

Exploring masculinity, crime and animalism, Cullen’s work is imbued with an unexpected vulnerability. In his lifetime, he was a multi-time Archibald Prize finalist, honoured with a 2008 retrospective at the Art Gallery of New South Wales and an Art Hotel in Prahran, cementing him as one of Australia’s foremost contemporary artists.

Hand-signed and limited edition, this work will invigorate collectors of pop and contemporary art, or those seeking an edge for their space.

A cowboy waits beside a motel pool, the sun throbbing overhead. No one knows why he’s there but they don’t ask, sensing that he has travelled far to find or escape someone. As the afternoon light caramelises, still as a reed, the cowboy tenses. Over the horizon rears a flash of blonde.

Steve Rosendale’s work draws upon the collective memories of popular culture. He sets up enthralling mise-en-scenes, elongating a flicker of film into an entire self-contained universe. A sense lingers that something is happening just beyond the frame; mystery, drama, suspense stew. This is a cinematic subterfuge at its finest.

Since the early 2000s, Rosendale has exhibited regularly across Melbourne, Sydney and Brisbane. A finalist in the Doug Moran National Portrait Prize, his work graces the walls of corporate and private collections in Australia and overseas, sparking the imagination of all who view it.

Like memory itself, ‘I was a Teenage Narcissist’ is potent but hard to pin down. It transports us into a time that never really existed; a film we can’t quite remember the end of. For collectors of pop and contemporary art and cinephiles, ‘I was a Teenage Narcissist’ promises to enthrall.

Adam Cullen merges social satire with technicolour excess. An ‘enfant terrible’ of the art world, he launched onto the Australian art scene by chaining a pig’s head to his ankle for two weeks. This punk stunt was followed by a career spent painting tough, uncompromising and challenging subjects, captured with a pop art twist.

In ‘Edward Kelly’, Cullen calls on a rebel of the Australian imagination – Ned Kelly. Dripping against a fuschia backdrop, the artist’s rendering is both cartoonish and bold, horns curling from his helmet and a smoking gun in his right hand. Thinking of himself as an outcast, Cullen resonated with Kelly.

Exploring masculinity, crime and animalism, Cullen’s work is imbued with an unexpected vulnerability. In his lifetime, he was a winner and multi-time Archibald Prize finalist, honoured with a 2008 retrospective at the Art Gallery of New South Wales and an Art Hotel in Prahran, cementing him as one of Australia’s foremost contemporary artists.

Hand-signed and limited edition, this work will invigorate collectors of pop and contemporary art or those seeking an edge for their space.

Hop in – we’re going on a road trip. In 'Alice Kelly and Family', Le Miere intertwines the iconography of three legendary Australian artists: Charles Blackman, Sidney Nolan, and John Brack. Blackman’s White Rabbit and Alice settle into the backseat, while Nolan’s Ned Kelly takes the wheel of Brack’s The Car (1955), embarking on a whimsical journey through the mythical land of the "Oz Mods."

Framed by a bright blue sky, this playful work invites viewers to traverse the landscapes of Australian modernism and spark their own interpretations. For collectors craving adventure, don’t let 'Alice Kelly and Family' leave without you.

Adam Cullen merges social satire with technicolour excess. An ‘enfant terrible’ of the art world, he launched onto the Australian art scene by chaining a pig’s head to his ankle for two weeks. This punk stunt was followed by a career spent painting tough, uncompromising and challenging subjects, captured with a pop art twist.

In ‘Wild Isaiah Wright 1876 (Kelly Gang)’, Cullen paints on a contemporary of Ned Kelly, Isaiah “Wild” Wright. Initially Wright and Kelly clashed; Kelly was convicted of receiving a horse stolen by Wright while Wright got off with a light sentence. When Kelly emerged from prison he took revenge, beating Wright in a 20-round bare knuckle fight to become a local boxing champion. The two became compatriots.

Exploring masculinity, crime and animalism, Cullen’s work is imbued with an unexpected vulnerability. In his lifetime, he was a winner and multi-time Archibald Prize finalist, honoured with a 2008 retrospective at the Art Gallery of New South Wales and an Art Hotel in Prahran, cementing him as one of Australia’s foremost contemporary artists.

Quintessential Cullen, this work is a prize for collectors of significant contemporary art and portraits.

Adam Cullen merges social satire with technicolour excess. An ‘enfant terrible’ of the art world, he launched onto the Australian art scene by chaining a pig’s head to his ankle for two weeks. This punk stunt was followed by a career spent painting tough, uncompromising and challenging subjects, captured with a pop art twist.

The subject of ‘Joe Byrne (Kelly Gang)’ is Joe Bryne, a member of Ned Kelly’s gang of bushrangers. Byrne was a tragic figure, meeting death (despite his tin armour) at the gang’s infamous confrontation with the police in Glenrowan, 1980. Like Byrne, Cullen was of Irish descent and considered himself an outcast. His work repeatedly returned to the Kelly gang, finding contemporary and autobiographical resonance in their myth of fateful rebellion.

Exploring masculinity, crime and animalism, Cullen’s work is imbued with an unexpected vulnerability. In his lifetime, he was a winner and multi-time Archibald Prize finalist, honoured with a 2008 retrospective at the Art Gallery of New South Wales and an Art Hotel in Prahran, cementing him as one of Australia’s foremost contemporary artists.

Quintessential Cullen, this work is a prize for collectors of significant contemporary art and portraits.