c1890s. Pencil drawing, signed lower left, 21 x 16.9cm. Minor surface loss and indentations to image centre, creases and tears to edges. Possibly a self-portrait.
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c1910. Pencil drawing, 12.6 x 16.8cm. Minor soiling to edges. Another drawing appears verso. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p48. Exhibited in Argosy Gallery, Sydney, 1933, and Castlemaine Museum and Art Gallery, 1988. Florence was Evergood’s sister-in-law. Ref: GH200.
1923. Ink and wash with gouache highlights, signed upper left, publishing annotations including date in crayon verso, 26 x 47cm. Minor perforations and missing portions to edges, repaired tears to lower left corner. Annotations include “Xmas, p28. Published Xmas ’23.”.
1930. Pencil drawing, annotated by Evergood in pencil below image, signed by the artist’s great-niece Gael Hammer in pencil and stamp with facsimile signature verso, 10.8 x 14.4cm. Old folds, creases, discolouration, slight tears to edges of image and margins. Annotation reads “1st lesson Polly dear.” Drawn on the verso.....
c1931. Oil on board, inscription “to Polly” scratched on image lower right, signed, and annotated by the artist’s great-niece Gael Hammer in ink on authentication label verso, 40.7 x 30.5cm. Minor surface loss to edges. Annotation reads “Pauline Konitzer Romero became Miles’ de facto wife. They met in 1930 and.....
c1931-1933. Watercolour, 25.4 x 17.9cm. A watercolour sketch, possibly by Polly, Evergood’s de facto wife, appears verso. Ref: GH80.
c1933. Oil on board, signed lower left, 40.5 x 30.1cm. Slight stains overall, chips to edges. A landscape painting appears verso. Ref: GH52.
c1933-1935. Watercolour, 25.5 x 17.7cm. Another watercolour appears verso. Polly was Evergood’s de facto wife.
c1940s. Pencil drawing, signed lower right, 32 x 21.5cm. Slight stains, foxing and minor creases overall.
c1940s. Pencil sketch, signed lower centre, 24.5 x 25cm. Slight foxing, stains, creases. Sydney-born artist Rachel Mary Roxburgh was also an educator, conservationist, and architectural heritage campaigner. She studied at East Sydney Technical College and Adelaide Perry School. She exhibited with the Contemporary Group and the Society of Artists, and...
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c1943. Pencil drawing, initialled “N.L.” below image, 17.3 x 36.4cm. Slight foxing, crinkles. Framed. The model for this image may be a “Miss Wheeler,” who is illustrated in a similar pose in Bloomfield, Norman Lindsay: 80 years of pencil drawing, 2008, p161.
c1960s. Oil on board, signed lower right, titled in ink in unknown hand on frame verso, 16.4 x 8.8cm. Slight surface soiling to image centre right. Framed. William Drew studied at the Melbourne Institute of Technology before going overseas in 1963. He lived in Rome, Paris and London and “travelled...