“In The Nude! Oh, Mr Thake”
1963. Linocut, titled, editioned 39/40, signed and dated in pencil in lower margin, 20.2 x 14.1cm. Minor foxing overall. Illustrated in The Christmas Linocuts of Eric Thake, 1941-1975, u.p. More
1963. Linocut, titled, editioned 39/40, signed and dated in pencil in lower margin, 20.2 x 14.1cm. Minor foxing overall. Illustrated in The Christmas Linocuts of Eric Thake, 1941-1975, u.p. More
1930. Linocut with gouache, folded in greeting card format, initialled “T.” in block lower right, titled, dated and signed in pencil below image, inscribed and dated in ink inside panel, 17.6 x 13.1cm. Slight creases and scuffing to image, pinhole, stains and foxing to upper and right edges. Inscription reads..... More
1951. Linocut, annotated “PCA Ed. 68”, editioned 68/100, titled, signed and dated in pencil in lower margin, 20 x 14.7cm. Illustrated in The Christmas Linocuts of Eric Thake, 1941-1975, u.p. More
1949. Colour screenprint, monogrammed in image lower left, annotated “serigraph” and signed in pencil below image, 22.9 x 29.2cm. Slight foxing and creases to corners not affecting image. Provenance: artist’s sister. Held in NGA. More
1938. Colour linocut, annotated “P/25 [proof], linocut”, dated, titled and signed in pencil in lower margin, 26.3 x 37.7cm. Slight foxing to image centre, crinkles, mount burn. During the 1920s Ethleen Palmer studied art at East Sydney Technical College under Rayner Hoff. She exhibited watercolour landscapes in 1929 with the..... More
1949. Colour screenprint, monogrammed in image lower right, annotated “serigraph, ed. 20 proof”, dated, titled and signed in pencil below image, 38.2 x 28.7cm. Minor creases and foxing to edges. Provenance: artist’s sister. Held in NGA. More
1924. Woodcut, signed in block lower left, annotated “no. 9” and signed in pencil in lower margin, 15.2 x 7.3cm. Old mount burn. The original block for this print is held in the National Gallery of Victoria. Ref: Mendelssohn #65. More
1932. Wood engraving, signed in block lower right, signed, inscribed “for June”, numbered “100”, titled and captioned “original woodcut” in pencil in lower margin, 17 x 15.2cm. Foxing to image upper left and margins, minor creases and surface loss to margins. Held in NGA. This is considered to be one..... More
1922. Wood engraving, signed in block lower right, signed, editioned 75/100 and titled in pencil in lower margin, 18.2 x 15.2cm. Slight stains to upper edge of image and margin, minor crinkles, old mount burn. Ref: Mendelssohn #121. Held in NGA; NGV; AGNSW. Lindsay created approximately 160 wood engravings covering..... More
1889. Etching, signed and dated in plate lower right, signed “L. Hop” in pencil in lower margin, 12.1 x 16.2cm. Tears, missing portions, soiling to margins, old mount burn. Laid down on acid-free backing. Considered to be the father of modern-day etching in Australia, Hopkins made only very small editions..... More
1933. Colour linocut with woodcut, titled and monogrammed in image upper right, editioned 12/16, titled, signed and dated in pencil in lower margin, 27.7 x 35.1cm. Minor glue remnants to image upper left. Held in Castlemaine Art Gallery. More
1927. Etching, editioned 28/60, titled and signed in pencil in lower margin, 25 x 20.1cm. Foxing overall. Held in AGNSW; NGA. Ref: Mendelssohn, The Life and Work of Sydney Long, 1979, #76, p260. More
1922. Etching in brown ink, annotated “1st state”, titled and signed in pencil in lower margin, 12.5 x 28.8cm. Repaired tears to left portion of image and margin, paper loss to image upper centre and lower margin, minor creases. Laid down on acid-free tissue, framed. Later states printed in black..... More
1919/1920s. Aquatint and etching, annotated “B”, titled and dated in pencil in lower margin, 17.3 x 35.4cm. Slight foxing, cockling. Framed. Similar to copy held in AGNSW, with a lighter impression. Sydney Long’s mystical work “evokes a distant, dreamlike and identifiably Australian landscape, featuring the brolga, a wetland bird found..... More