The Sentinel
c1935. Etching, editioned 16/35, titled and signed in pencil in lower margin, 21.4 x 15.1cm. Faint mount burn. More
c1935. Etching, editioned 16/35, titled and signed in pencil in lower margin, 21.4 x 15.1cm. Faint mount burn. More
c1930s. Etching, titled and signed in pencil in lower margin, 6.9 x 13.6cm. More
1933. Wood engraving, titled, editioned 12/12, signed, dated and annotated in pencil in lower margin, 11.6 x 17cm. Minor surface loss to edge of image centre right, tears and slight foxing to lower margin. Annotation reads “From the Lamentations of Jeremiah.” Hughes-Stanton won the International Prize for Engraving at the..... More
c1980s. Colour screenprint, editioned 96/100, titled and signed in pencil in lower margin, 27.9 x 24.1cm. New Zealand-born artist Blake Twigden is a “specialist painter of zoological and botanical subjects in oils on hardboard and in gold leaf, pen and watercolour. Since 1972 he has published eight limited edition books..... More
c1929. Lithograph, signed in pencil below image, 31.4 x 23.7cm. Likely from a portfolio of lithographs published in two volumes in Paris, 1929. Ref: British Museum. Boris Lovet-Lorski worked as an architect in Russia until 1920, when he immigrated to the United States, settling in New York. His sculpture and..... More
1986. Hand-coloured linocut, editioned 4/50, signed and dated in pencil in lower margin, 30 x 30.3cm. More
c1990. Hand-coloured linocut, annotated and signed in pencil in lower margin, 30 x 30cm. Artist’s colour test in lower margin. Annotations include “1st trial proof”, a description of the visual elements and the process of creating the print. “Printmaker Bruce Goold was schooled in Newcastle and trained at the National..... More
c1920s. Etching, titled and signed in pencil in lower margin, 15 x 19.2cm. Old mount burn. Held in SLSA. “The site of Gonville Chambers [doctors’ professional rooms] was the home of Dr Frederick Bayer, who arrived in this country in 1847, and is said to be the first man to..... More
c1920s. Pair of etchings, (a) titled, annotated “from the original Bulletin drawing”, editioned 12/50; and (b) titled, editioned “No. 1 (first state)”; and both signed in pencil in lower margin, 20.8 x 36.4cm, 23.3 x 35.6cm. One with slight foxing, minor rubbing and paper loss to upper margin. Framed. Sydney cartoonist, illustrator..... More
1939. Linocut, titled, editioned 2/20, signed and dated in pencil in lower margin, 29.5 x 23.2cm. Crinkles and slight creases overall, minor foxing and tears to margins. More
1793. Hand-coloured engraving, text including artist and title in plate below image, 21.1 x 17.1cm (image). Slight foxing and discolouration overall. Framed. Text includes “C.R. Ryley del. J. Fittler, sculp. London, publish’d as the Act directs Feb. 2, 1793 by I. Parkinson Leverian, Museum.”. More
1930. Colour woodcut, signed, dated and annotated “No. 7” on image lower right, 35.4 x 41.9cm. Original frame. Born in Bolzano in northern Italy, Carl Moser studied at the Academy of Fine Arts in Munich and the Académie Julian in Paris, later travelling to Germany, Italy, Corsica and Brittany. Influenced by..... More
c1920s. Colour woodcut, titled and signed in pencil in lower margin, 14.8 x 17.5cm. Slight creases overall, old tape to edges of margins. Styria is a mountainous, forested state in southern Austria, known for its wine, spas and castles. More
1932. Etching, editioned 5/25, titled and signed in pencil in lower margin, 24.9 x 20cm. Minor cockling, discolouration and stains to upper portion of image. Framed. Held in NGA; illustrated in The Etchings of Cedric Emanuel, 1980, plate 26. The Anzac Memorial was designed by architect Bruce Dellit, with exterior..... More
c1930s. Etching and aquatint, editioned 9/25 and signed in pencil in lower margin, 29.1 x 21.5cm. Slight foxing, old mount burn. This etching is from a pen and ink wash drawing at Halvorsen’s Boatshed, which at that time was located in Neutral Bay, NSW, before relocating to Ryde in 1939..... More
c1930s. Etching, editioned 9/50, titled and signed in pencil in lower margin, 13.8 x 17.6cm. Repaired tears to plate mark, old mount burn. More
c1930s. Etching, editioned 7/25, titled and signed in pencil in lower margin, 17.7 x 15.1cm. Old mount burn. Emanuel studied etching with Sydney Long during the 1930s. His enthusiasm for this medium is highlighted in his book, The Etchings of Cedric Emanuel, 1980, where he states “I hope I have..... More
1938. Etching, editioned “no. 41”, titled and signed in pencil in lower margin, 27.7 x 30.5cm. Slight foxing to upper portion and lower margin. Framed. Held in AGNSW. Illustrated in The Etchings of Cedric Emanuel, 1980, plate 2, with Emanuel’s comment “The first drawing of the etching was done from..... More
c1930s. Etching, editioned 1/25, titled and signed in pencil in lower margin, 20.1 x 24.9cm. Ref: The Etchings of Cedric Emanuel, 1980, plate 40, listed as The Boatsheds, Rushcutters Bay. More
c1931. Etching, editioned 1/50, signed and titled in pencil in lower margin, 41.5 x 32.8cm. Slight foxing, paper remnants and old mount burn to margins. This image of Hobart, which is most likely Emanuel’s largest etching, is held in the National Gallery of Australia. Born in New Zealand, Cedric Emanuel..... More
c1930s. Etching, editioned 14/50, titled and signed in pencil in lower margin, 32.5 x 19.5cm. Slight foxing. Illustrated in The Etchings of Cedric Emanuel, #4, with title “Boatshed, Rushcutter’s Bay.” New Zealand-born Cedric Emanuel studied art at the Royal Art Society under Julian Ashton, and learned etching from Sydney Long..... More
1968. Colour screenprint, titled, editioned 42/100, signed and dated in pencil with printer’s blind stamp in lower margin, 49.9 x 64.9cm. Slight creases with minor surface cracking to lower right corner of image and right margin. Stamp reads “Hand-printed in collaboration with the artist. Paddington Print Studio, Australia.”. More
1989. Etching, editioned 39/50, titled and signed in pencil in lower margin, 39.2 x 47.5cm. Slight foxing. Framed. This image is held in National Gallery of Australia with a comment on Charles Blackman’s printmaking background: “Born in Sydney on 8 December 1928, where he studied drawing, Charles Blackman was self-taught as..... More
c1980. Etching, editioned 86/100, titled and signed in pencil with printer’s blind stamp “WHP” in lower margin, 29.6 x 30.1cm. Minor soiling to margins. This image was illustrated in the first edition of the book by Charles Blackman with text by Nadine Amadio, Charles Blackman, The Lost Domains, 1980. It shows..... More