In The Shade Of The Casuarina
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, 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
1909. Etching, titled, annotated “16” and signed in pencil in lower margin, 30.2 x 20.2cm. Perforations to margins, minor mount burn. Held in the National Gallery of Australia collection, with alternate title Old Bridge, Mosman. More
1927. Etching, titled, editioned 31/75 and signed “E. Warner” in pencil in lower margin, 22.1 x 21.6cm. Minor paper remnants to image upper left and centre, repaired tears to image upper right and to margins, cracks to left platemark, old mount burn. Laid down on acid-free tissue. Held in NGA..... More
1931. Etching, titled, editioned 19/75 and signed “E. Warner” in pencil in lower margin, 12.9 x 16.3cm. Missing portions to margins not affecting image, old mount burn. Laid down on acid-free tissue. Held in SLNSW. More
1932. Etching, titled, editioned 75/75 and signed “E. Warner” in pencil in lower margin, 18.1 x 19.7cm. Repaired cracking to left and right platemarks, rubbing and missing portions to margins. Held in SLNSW. More
1937. Etching, signed and dated in plate lower left, editioned 25/50, titled and signed “E. Warner” in pencil in lower margin, 16.1 x 23.7cm. Minor creases and stains to margins. More
1932. Etching, titled, editioned 84/90 and signed “E. Warner” in pencil in lower margin, 19.5 x 31.5cm. Old tape and repaired minor tears to edges of paper, foxing to upper margin, old mount burn. Held in SLNSW. British-born Warner trained as an engraver before first travelling to Australia in 1910..... More
1982. Etching, editioned 48/100, titled, dated and signed in pencil in lower margin, 17 x 26.9cm. Slight surface loss to lower portion of image. Abbotsleigh is a private girls’ school in the upper north shore of Sydney, founded in 1885. Austin Platt may have included this image among his illustrations..... More
c1930s. Etching and aquatint, editioned 7/50, titled and signed in pencil in lower margin, 21.4 x 16.2cm. Slight old 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
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
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
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, 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
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
1839. Etching, title in plate below image, 15.9 x 24.4cm (image). Trimmed plate mark, soiling, missing portion to lower right corner of image. Laid down on acid-free paper. Partially obscured text includes “C.D. Wittenoom, Esq’r. Printed by [J.] Henshall, [1, Cloudesley Terrace, Islington].” Ref: NLA. This is a very early..... More
1851. Lithograph, titled in pencil in lower margin, 13.2 x 23.8cm. Foxing, stains, handling creases, missing upper left corner and portions of lower margin. More
1851. Lithograph, titled in pencil in lower margin, 9 x 14cm. Stains and minor tear to image lower left, foxing, trimmed corners of margins. More
1851. Tinted lithograph, monogrammed in image lower left, annotated “View from Darling Point Road” in an unknown hand in pencil in lower margin, 14 x 23cm. Foxing, handling crinkles, missing portions and stains to margins. From the series Sketches in the environs of Sydney… Ref: Ellis, Conrad Martens: life and..... More
c1850s. Two hand-coloured lithographs, one monogrammed in image lower left, one titled in pencil in lower margin, 15.6 x 23cm and 15.2 x 25.1cm. Creases to one image, minor perforation and stain to centre of other image, old mount burn and stains to margins of both. Image titles read (1)..... More
1851. Two lithographs, each monogrammed in image lower left and titled in pencil in lower margin, 20 x 14.7cm and 13.5 x 22.5cm. Slight foxing, creases, one with minor perforation and stains to edges. Both images appeared in Martens’ Sketches Illustrative of the Scenery of New South Wales, 1851. Ref..... More
c1920s. Aquatint, editioned 1/30, signed and annotated in pencil in lower margin, 19.3 x 27.2cm. Slight foxing, old mount burn. Annotation reads “30 proofs, 2 pounds and 2 shillings.” David Barker was a founding member and a regular exhibitor with the Australian Painter-Etchers’ Society from 1921. Ref: AGNSW. More