1911. Letterpress and process screen print folio with original board wrappers, each image captioned in plate, 35.8 x 28.5cm. Slight crinkles and foxing overall, some pages annotated in pencil, soiling and wear to cover. Cover includes “Department of Public Instruction, New South Wales. Photographed from selected specimens. Brief botanical description..... More
c1911. Watercolour with gouache, original postcard design, accompanied with colour process screen print postcard of the same image, titled and signed in image lower left and right, artist’s name stamped in lower margin, title and signature replicated in postcard image with the annotation “Oilette”, text in letterpress verso, 15.3 x...... More
1912. Lithograph, initialled in image lower left, 26.4 x 32.3cm. Repaired tears, slight stains to image. Framed. More
1912. Etching, signed, annotated “first state” and editioned 8/50 in pencil in lower margin, 20.7 x 15.7cm. Minor crinkles. Ref: Mendelssohn #69. Held in NGA, NLA, NGV. The Sailor’s Return was a pub on Essex Lane, The Rocks, an area which was considered to be “a notorious address with many..... More
c1910-1913. Monotype with added crayon, signed by the artist’s great-niece Gael Hammer in pencil and stamp with facsimile signature verso, 15.8 x 12.7cm. Repaired tear to upper edge of image. Ref: GH176. More
c1913. Colour lithograph, lithographically printed title on slip affixed to mount below image, 28.5 x 40.9cm. Slight crinkles and scuffs to centre of image. Original frame. Commissioned by the Australian Government, the HMAS Australia was the first and largest flagship in the Australian fleet in WW1. She had a crew..... More
1913. Etching, signed in pencil in lower margin, 10.7 x 16.5cm. Slight old mount burn. Ref: Mendelssohn #90. Held in the Art Gall ery of NSW and National Gallery of Australia collections. More
1913. Etching and aquatint, signed and annotated “no. 21” in pencil on plate mark below image, 21.9 x 29.5cm. Repaired tears to margins. Ref: Mendelssohn #98. More
1914. Etching, signed in plate lower left, signed, titled and annotated “19” in pencil in lower margin, 10.3 x 13.4cm. Slight cracking to platemark. Ref: Mendelssohn #103. Held in NGV. More
![Country Bridge II [Red Hill, QLD]. Miles Evergood, Australian](/pictures/thumb/CL170-11.JPG?v=1492493775)
c1910-1914. Soft-ground etching, signed by the artist’s great-niece Gael Hammer in pencil and stamp with facsimile signature verso, 11.3 x 15.4cm. Slight stains and foxing overall, trimmed to edges of plate mark, minor strikethrough due to stamp verso. Exhibited at the Great Synagogue, Sydney, 1989. Held in the National Gallery..... More
![Self Portrait [1]. Miles Evergood, Australian](/pictures/thumb/CL170-12.JPG?v=1492493776)
c1910-1914. Etching, signed by the artist’s great-niece Gael Hammer in pencil and stamp with facsimile signature verso, 15.3 x 11.4cm. Minor rubbing to image lower centre, slight cockling and foxing overall, strikethrough due to stamp verso. Exhibited in Kozminsky Galleries, Melb., 2001. Ref: GH95. More
![Self Portrait [2]. Miles Evergood, Australian](/pictures/thumb/CL170-13.JPG?v=1492493777)
c1910-1914. Etching, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 13.3 x 6.3cm. Slight tear to upper margin near plate mark due to excessive impression, foxing to margins. Working proof. Three copies are known to exist. Exhibited at the Great..... More
![Country Bridge [Red Hill, QLD]. Miles Evergood, Australian](/pictures/thumb/CL170-14.JPG?v=1492493777)
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
1914. Line-block, letterpress and colour process screen leaflet with fold-out panorama, text includes date, artists’ names and an index to key points of interest, 23 x 13cm (cover), 21.7 x 45.2cm (panorama, unfolded). Slight tears, missing portions and discolouration to edges of cover, minor tear and creases to edges of..... More
1914. Lithograph, editioned 11/30, annotated “auto-lithograph,” inscribed, titled and signed in pencil in lower margin, 18 x 30cm. Old mount burn. Inscription reads “To G. [Gayfield] Shaw, Esq. from S. Ure S. Dec. 1916.” Held in SLNSW. Lithographs by Ure Smith are uncommon, and it is also unusual for one..... More
1915. Etching, titled, signed and editioned 16/50 in pencil in lower margin, 20 x 29.6cm. Held in the National Gallery of Australia collection. More
1915. Etching, titled, annotated “no. 4” and signed in pencil in lower margin, 20.3 x 30.4cm. Slight mount burn and paper loss to margins. Held in the National Gallery of Aust. collection. More
1915. Etching, signed in plate lower left, annotated “no. 10,” titled, signed and dated “Dec. 1915” in pencil in lower margin, 15.9 x 10.4cm. Pinholes to margins, old mount burn. Held in State Library of NSW, listed as The Little Ketch -Mosman’s Bay. The name of the ketch is Ruby..... More
c1916. Etching, titled, annotated “no. 17” and signed in pencil in lower margin, 12.7 x 19.9cm. Repaired tear to lower left edge of margin, minor stains and surface loss to image upper right, pinholes to margins, old mount burn. The National Library of Australia holds a sketch which was most..... More
![Black Walled House, Cumberland Street [Sydney]. Lionel Lindsay, Aust](/pictures/thumb/CL166-99.JPG?v=1492486467)
1916. Etching, signed in plate lower left, editioned 31/50, titled and signed in pencil in lower margin, 13.7 x 17.6cm. Minor stains to lower left corner of image and to upper margin. Ref: Mendelssohn #120. Held in NGV and NGA collections. More
![Dawes Battery [Sydney Harbour]. Sydney Ure Smith, Aust](/pictures/thumb/CL183-163.JPG?v=1486012737)
1917. Etching, signed in plate lower left, editioned 49/50, titled and signed in pencil in lower margin, 10.5 x 22.6cm. Minor soiling to margins. Illustrated in The Etchings of Sydney Ure Smith, 1920, #39. The Dawes Point Battery, an historical fortification, was located adjacent to the southern pylon of the..... More
1917. Etching, signed in plate upper left, annotated “no. 6,” titled, signed and dated in pencil in lower margin, 25 x 17.5cm. Old mount burn. This image shows The Sun newspaper office in Castlereagh St as seen from Moore St. This etching, which had a run of only 15 prints..... More
![Ashmore House, Kent Street [Sydney]. Lionel Lindsay, 1874–1961 Australian](/pictures/thumb/CL198-68.jpg?v=1576815261)
1917. Etching, signed in plate lower left, signed, titled and annotated “no. 24” in pencil in lower margin, 13.8 x 17.5cm. Minor stain to image centre. Ref: Mendelssohn #137, with alternative title “Ashmore House, Old Kent Street, Sydney, demolished 1912.” Held in NGA, NLA, NGV. More
c1917. Colour woodcut, 17 x 13.6cm. Slight foxing to margins. Framed. Held in NGA, NLA. This is one of Lionel Lindsay’s first experimental woodcuts, and each print is slightly different in colour, revealing much about his technique and exploratory process. Ref: Mendelssohn #5 with date “c1920.” This is a very..... More
c1918. Woodcut, initialled in block lower right, signed and editioned 15/45 in pencil in lower margin, 25 x 14cm. Framed. Ref: Laboureur #713. Founder, in 1923, of the Société des Peintres Graveurs Indépendants, Laboureur was friend to avant-garde poet Guillaume Apollinaire and painter Marie Laurencin. At Academie Julian, a prestigious..... More