c1910-1914. Drypoint, annotated “1st [state]” by Evergood in pencil in lower margin, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 11.8 x 16.7cm. Foxing and slight crinkles overall. More

1918. Etching, signed in plate lower left, signed and annotated “no. 8” in pencil in lower margin, 16.3 x 24.4cm. Irregular margins, repaired portions and tears. Laid down on acid-free backing. An impression of this etching was published in a limited edition book Lindsay produced with Sydney Ure Smith, titled..... More

c1910-1922. Drypoint, annotated “1st [state]” by Evergood in pencil in lower margin, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 10.3 x 16.9cm. Slight foxing overall. More

c1922. Colour linocut, titled, editioned 14/50 and signed in pencil in lower margin, 12.3 x 17.2cm. Illustrated in Sunshine and Shadow, Art Gallery of WA, 2004, #5. Held in National Gallery of Australia, and Art Gallery of WA. More

1924. Etching, monogrammed and dated in plate lower right, signed, titled and dated in pencil in lower margin, 15.2 x 25cm. Minor foxing to margins. More

1929. Etching, initialled and dated in plate lower left, signed, titled and editioned 9/30 in pencil in lower margin, 14.9 x 27.6cm. Excessive impression to lower right corner of platemark, slight foxing to lower margin. The image shows the early stages of the building of the Sydney Harbour Bridge from..... More

c1930s. Colour linocut, monogrammed in block lower right, signed in pencil in lower margin, 18.8 x 28cm. Minor discolouration overall, laid down on original backing. More

c1930s. Linocut, initialled in block lower left, titled, numbered “5” and signed in pencil in lower margin, 29.5 x 26.5cm. Slight printing stains to margins. St James’ Church was designed by architect Francis Greenway (1777-1837). Lisette Anna Kohlhagen studied at the South Australian School of Arts and Crafts in Adelaide..... More

1924/1932. Etching with aquatint and stipple, titled, dated “1924” with annotation in plate lower left, editioned 24 [out of 50],” signed and dated “1932” in pencil in lower margin, 16 x 21.6cm. Annotation reads “E’ched by L. Lindsay from the photograph by Wm Dixson, 1924, NSW.” Held in SLNSW. This..... More

1933. Etching, signed, dated and titled in plate upper left to centre, editioned 7/50 and signed in pencil in lower margin, 23.5 x 20.8cm.Slight foxing, soiling and old mount burn to margins. Image held in the National Gallery of Australia. Born in Sunbury, Victoria, John Shirlow was the “first Australian..... More

1939. Colour linocut, monogrammed in image lower left, 22.5 x 15.7cm. Creases to upper centre of image. Framed. Held in AGNSW with the comment “This print is strongly redolent of the aesthetic she [Black] developed at the Grosvenor School, which encouraged ‘modern prints for the modern age’ with subjects including..... More

c1960s. Etching and aquatint, titled, annotated “etching and aquatint,” signed and numbered “12” in pencil in lower margin, 36 x 20.7cm. Old mount burn. Designed by architects Hennessy and Sheerin, the Hotel Metropole, which opened in 1890, had frontages on Young, Bent and Phillip streets. Described as a “splendid establishment,”..... More

1964. Etching, captioned in image, titled, annotated “proof B”, signed and dated in pencil in lower margin, 23 x 36.8cm. Creases, slight stains and missing portions to margins. Captions include “Greetings to all from me – guess where? Hope you are all enjoying my holiday. Will write later” and “Golden..... More