Description:

JOHN OLSEN (1928-2023)
Velvet Monkey Kenya 2013
watercolour and pastel on paper 
signed lower right: John Olsen 013
titled lower left: Velvet Monkey Kenya
76 x 55cm

PROVENANCE:
Metro 5 Gallery, Melbourne
Private collection, Melbourne

LITERATURE:
McGregor, K., John Olsen's studios: Owlswood & Hidden Lake, NSW / introductions & photographs by Ken McGregor, Australian Scholarly Publishing North Melbourne, Victoria, 2020, pp. 68 (illus.)

OTHER NOTES:
In 2023 Australia lost one of its most iconic artists, John Olsen (born 1928) known for his vibrant and unique works that speak of the energy of nature. His art reflects an immersive engagement with landscape and lifeforms. Particularly relevant to the context of this auction are frogs and monkeys, which appear in his oeuvre as both symbolic figures and vehicles for experimentation.

Olsen's deep interest in nature is best understood not as a passive observation of the environment but as an embodied celebration of life's rhythms. This is evident in his fascination with frogs, a motif that he explores through various media in his work. Frogs, for Olsen, were more than amphibians; they were symbols of vitality, transformation and the energies of the Australian bush.

"Perhaps more than any other Australian artist, John Olsen has invested the animal world, in his many drawings, prints, gouaches and watercolours, with a zestful energy and sometimes tender, often humorous insights. Occasionally the images were quite charming and elegant, while in other instances they were as daring and as erratic as some of the creatures themselves. The aim was not perfection but discovery."(1)

This tension and movement are taken to new heights in the bronze sculpture Untitled (Leaping Frog) (2004-2005), cast in an edition of 14. The figure, captured mid-leap, is a study of momentum. With limbs stretched and form exaggerated to a lyrical extreme, the frog appears to be dancing or even flying-a surreal expression of Olsen's joyful, dynamic vision. The sculpture's elegance lies in its paradox: it is frozen in metal, yet everything about it suggests motion, breath, and an irrepressible zest for life.

"Although in exhibitions in the 1970s there was occasionally an over-abundance of frogs in accordance with Olsen's obsessive personality, no two frogs were ever the same. He often did a large number of drawings before he was able to reach one that captured the essence of this spirited creature."(2)

Equally striking in Olsen's practice is his depiction of monkeys. Unlike the frog, which often appears as part of a broader landscape, the monkey becomes a more singular, anthropomorphic subject-frequently used by Olsen to explore character, absurdity, and humour.

"In 1978 John Olsen travelled to Africa to Egypt, Kenya and South Africa. The animal life in this country provided a special fascination for the artist, particularly the giraffes and monkeys, the African equivalents of the emus and frogs. He perceived, in the ambidextrous activities and agility of the monkey, a possibility for exploring a continual movement of reducing and expanding form and line. Olsen's monkeys often reveal as much wit as well as strange human qualities…" (3)

This human-animal resonance reaches a peak in Velvet Monkey, Kenya (2013), a late work on paper that fuses Olsen's expressive line with gestural colour. The monkey is at once contorted and composed, scratching its head with a theatrical twist of the torso, while one-foot balances off-centre. Painted in a loose watercolour technique over charcoal and pastel, the figure is full of tension and energy, its limbs elongated and animated like calligraphic brushstrokes. Here, Olsen's monkey isn't simply a primate, it is a performance of eccentricity and spirit, echoing human folly and freedom alike.

What binds these works together, frogs and monkeys, paper and bronze, is Olsen's enduring capacity to animate his subjects with empathy and humour. His creatures are never lifeless; they are spiritual actors in a living world. That world is often watery, tangled, and full of unexpected creatures leaping, crawling, or chattering through its depths.

Olsen's body of work emphasizes his dual commitment to abstraction and figuration, movement and meaning. Olsen's frogs and monkeys are not purely subjects. They are metaphors for Olsen's world view that valued energy, play, and connection. They leap and swing across his surfaces not just as animals, but as emblems of how to be in the world, with alertness, humour, and vitality.

Wiebke Brix
Head of Art

(1) D. Hart, John Olsen, Craftsman House, 1991, P. 146
(2) Ibid P. 130
(3) Ibid P.146

© John Olsen/Copyright Agency, 2025

  • Provenance: Metro 5 Gallery, Melbourne
    Private collection, Melbourne
  • Dimensions: 76 x 55cm
  • Literature: McGregor, K., John Olsen's studios: Owlswood & Hidden Lake, NSW / introductions & photographs by Ken McGregor, Australian Scholarly Publishing North Melbourne, Victoria, 2020, pp. 68 (illus.)
  • Medium: watercolour and pastel on paper 
  • Notes: In 2023 Australia lost one of its most iconic artists, John Olsen (born 1928) known for his vibrant and unique works that speak of the energy of nature. His art reflects an immersive engagement with landscape and lifeforms. Particularly relevant to the context of this auction are frogs and monkeys, which appear in his oeuvre as both symbolic figures and vehicles for experimentation.

    Olsen's deep interest in nature is best understood not as a passive observation of the environment but as an embodied celebration of life's rhythms. This is evident in his fascination with frogs, a motif that he explores through various media in his work. Frogs, for Olsen, were more than amphibians; they were symbols of vitality, transformation and the energies of the Australian bush.

    "Perhaps more than any other Australian artist, John Olsen has invested the animal world, in his many drawings, prints, gouaches and watercolours, with a zestful energy and sometimes tender, often humorous insights. Occasionally the images were quite charming and elegant, while in other instances they were as daring and as erratic as some of the creatures themselves. The aim was not perfection but discovery."(1)

    This tension and movement are taken to new heights in the bronze sculpture Untitled (Leaping Frog) (2004-2005), cast in an edition of 14. The figure, captured mid-leap, is a study of momentum. With limbs stretched and form exaggerated to a lyrical extreme, the frog appears to be dancing or even flying-a surreal expression of Olsen's joyful, dynamic vision. The sculpture's elegance lies in its paradox: it is frozen in metal, yet everything about it suggests motion, breath, and an irrepressible zest for life.

    "Although in exhibitions in the 1970s there was occasionally an over-abundance of frogs in accordance with Olsen's obsessive personality, no two frogs were ever the same. He often did a large number of drawings before he was able to reach one that captured the essence of this spirited creature."(2)

    Equally striking in Olsen's practice is his depiction of monkeys. Unlike the frog, which often appears as part of a broader landscape, the monkey becomes a more singular, anthropomorphic subject-frequently used by Olsen to explore character, absurdity, and humour.

    "In 1978 John Olsen travelled to Africa to Egypt, Kenya and South Africa. The animal life in this country provided a special fascination for the artist, particularly the giraffes and monkeys, the African equivalents of the emus and frogs. He perceived, in the ambidextrous activities and agility of the monkey, a possibility for exploring a continual movement of reducing and expanding form and line. Olsen's monkeys often reveal as much wit as well as strange human qualities…" (3)

    This human-animal resonance reaches a peak in Velvet Monkey, Kenya (2013), a late work on paper that fuses Olsen's expressive line with gestural colour. The monkey is at once contorted and composed, scratching its head with a theatrical twist of the torso, while one-foot balances off-centre. Painted in a loose watercolour technique over charcoal and pastel, the figure is full of tension and energy, its limbs elongated and animated like calligraphic brushstrokes. Here, Olsen's monkey isn't simply a primate, it is a performance of eccentricity and spirit, echoing human folly and freedom alike.

    What binds these works together, frogs and monkeys, paper and bronze, is Olsen's enduring capacity to animate his subjects with empathy and humour. His creatures are never lifeless; they are spiritual actors in a living world. That world is often watery, tangled, and full of unexpected creatures leaping, crawling, or chattering through its depths.

    Olsen's body of work emphasizes his dual commitment to abstraction and figuration, movement and meaning. Olsen's frogs and monkeys are not purely subjects. They are metaphors for Olsen's world view that valued energy, play, and connection. They leap and swing across his surfaces not just as animals, but as emblems of how to be in the world, with alertness, humour, and vitality.

    Wiebke Brix
    Head of Art

    (1) D. Hart, John Olsen, Craftsman House, 1991, P. 146
    (2) Ibid P. 130
    (3) Ibid P.146

    © John Olsen/Copyright Agency, 2025

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