[Portrait Of A Man In Front Of A Doric Column]
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. More
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. More
1897. Pen on scraperboard, signed and dated lower left, 9.3 x 19.2cm. Slight foxing and stains to upper portion. Provenance: Fullwood estate. More
1895. Oil on canvas, signed and dated lower left, 54.3 x 23.9cm. Pinhole to upper right corner, slight soiling. Framed. This painting was exhibited at the Royal Art Society of NSW in 1895, as referenced in their catalogue. Sydney-born Alfred Ernest Starkey was the youngest son of a wealthy soft-drink..... More
1936. Oil on board, signed and dated in pencil lower left, 25.5 x 35.5cm. Minor chips to edges. More
1929. Pencil sketch, titled and dated lower left, 27.8 x 38.6cm (paper). Old crease to left portion, foxing to edges. More
1925. Pen and ink, signed and dated by artist lower left, titled and annotated with artist’s name in ink in another hand on accompanying original frame label, 22.9 x 20.4cm. Pinholes, slight stains and crinkles to edges of paper not affecting image. More
1920. Ink and wash, signed and dated upper left, 30.5 x 27.8cm. Slight foxing overall, surface loss, rubbing and stains to margins, old mount burn. Very early, detailed work by Feint. More
1924. Etching and pencil study: (a) editioned 13/20, titled, signed and dated in pencil in lower margin, 12.7 x 12.8cm. Slight mount burn; (b) signed and dated lower right, 12.7 x 12.6cm. Perforation and rubbing to image, chips to edges. Mounted together. More
c1917. Three pencil drawings on postcards, each signed and one dated upper right, 13.8 x 8.8cm (approx. each). Creases overall, minor chips to some edges. Mounted together. (1) Shows a woman seated under a willow tree with stanzas from a poem including “Under the willow shady / wait yet a...... More
1920. Ink drawing, signed and dated upper right, 21.4 x 21cm. Minor foxing and surface loss, old mount burn. More
c1940s. Oil on canvas, and colour lithograph poster, signed lower right, 96 x 71.5cm (painting), 99.5 x 76.cm (poster). Slight soiling. Original frame. This oil painting was commissioned by Resch’s Brewery to be reproduced as a poster for their pubs. It is extremely rare to have both the original artwork..... More
1940. Pen and ink with pencil, captioned, signed and dated “’40” in image, captioned in ink and pencil with publishing annotations in and below image and verso, with date “5.4.40” in affixed Picture News label, 44.5 x 17.3cm. Slight foxing and soiling, old fold with cracking to centre of image, tear..... More
1934. Pen and ink, signed and dated in ink lower right, signed and captioned in pencil in upper and lower margins, “McCulloch” estate and date stamp “14 Dec. 1934” verso, 30.3 x 44.7cm. Minor creases, foxing, soiling. Text in cartoon reads “On sale here. ‘Evensong.’ The film version of this..... More
1930. Watercolour with gouache, signed and dated in pencil upper right, 21.5 x 61.5cm. Foxing, repaired tear to upper right corner. Framed. More
1944. Watercolour, signed and dated lower right, 29 x 21.4cm. More
c1949. Ink with watercolour in four panels, signed in fourth panel and annotated “2612, Sat. Jan. 29” in ink in right margin, 19.2 x 58.4cm. Slight stains and pinholes to margins. The “Bluey and Curley” comic strip, created for the magazine Picture-News in 1940, featured two eponymous Australian soldiers who..... More
1960. Oil on board, signed lower left, signed, titled and dated in pencil and ink on frame verso, 19.5 x 24.5cm. Framed. More
c1975. Oil on wood, 38.3 x 53.4cm. Distressed paint surface. Framed. Provenance: Lewis Morley estate. A circa 1975 portrait of Amie Kingston by Lewis Morley shows her with this painting in her studio. Ref: NPG. More
c1920s. Gouache with ink, partially obscured initials “A.J.[?]” in gouache lower right, 21.6 x 17.9cm. Laid down on original backing. In the style of Ida Rentoul Outhwaite (Aust., 1888-1960). More
c1914. Watercolour, titled in pencil lower right, 22.8 x 32.9cm. Foxing, old mount burn. Possibly inspired by Henry Lawson’s poem, Kerosene Bay written in 1914: “Tis strange on such a peaceful day / With white clouds flying o’er, / That foreign boats are in the bay / As prisoners of..... More
c1950s. Oil on paper, “The studio of Murch” estate stamp lower right, 30.7 x 25.6cm. Old creases, crinkles, oil stain outline verso. Artists Lloyd Rees and Arthur Murch were members of the Society of Artists, which was an “influential Sydney-based group of progressive artists who staged annual exhibitions from 1895..... More
1933. Sanguine drawing, titled, signed and dated lower right, 36.7 x 56.7cm (paper). Pinholes, repaired tears, creases and missing portions, slight stains to edges. Laid down on acid-free tissue. In 1933, Arthur Murch accompanied a professor of physiology, H. Whitridge Davies, on a scientific expedition to Central Australia as a...... More
c1950s. Crayon, signed lower right, artist name, address, title and price “10 guineas” in ink on original frame verso, 33 x 43.2cm. Framed. Address reads “Barbara Chapman, 264 Eastern Valley Way, Middle Cove, JY2234.”. More
c1930s. Watercolour, unsigned, 30 x 32cm. Pinholes to edges. Provenance: artist’s estate. Information about Betty Solomons seems to be scarce. She appears to have studied pottery at the Technical Education Department in Sydney, with her name listed in the Department’s published examination results in 1923. From 1925 she was known..... More
c1930s. Watercolour, unsigned, 40.6 x 33.5cm. Pinholes to edges, slight foxing. Provenance: artist’s estate. More