![Self-portrait?]. Ron Meadows, Aust](/pictures/thumb/CL192-101.JPG?v=1524199135)
c1930s. Charcoal drawing, signed in pencil lower right, 32.1 x 23.3cm. Minor paper loss to image upper left, repaired tears to lower edge, missing portion to right edge. Melbourne-born Ron Meadows “studied at the National Gallery School between 1929 and 1933. In 1934 he was a student at the Melbourne..... More
c1930s. Oil on board, signed in pencil lower right, 24.1 x 34.2cm. Minor surface dirt. William Rowell was a student of Bernard Hall and Frederick McCubbin at the National Gallery School in Melbourne. His first solo exhibition was held at the Athenæum Gallery in 1920, and that year he won..... More
![Still Life With Apple Blossoms]. active Australian, s](/pictures/thumb/CL192-158.JPG?v=1524199175)
c1930s. Watercolour with pencil, 33.8 x 29.8cm. Pinholes, minor scuffing to image lower left, slight foxing and crinkles overall. 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..... More
![Winter Tree]. Percy Trompf, Aust](/pictures/thumb/CL194-132.jpg?v=1543548375)
c1930s. Oil on canvas, signed lower right, 61.1 x 45.6cm. Minor scuffing to edges, slight stains upper left. Oil paintings by Trompf rarely appear in the market. Victorian-born, Percival Albert (Percy) Trompf studied at the Ballarat Technical Art School, later joining Giles & Richards in Melbourne, where he designed chocolate..... More
![Glebe Island Wheat Silos From Pyrmont, NSW]. Robert Emerson Curtis, 1898–1996 Aust](/pictures/thumb/CL198-101.jpg?v=1576814956)
c1930s. Pencil drawing, initialled lower right, 17.6 x 25.8cm. Slight foxing, uneven edges. This sketch was likely taken from the present site of Waterfront Park, Pyrmont, previously the site of the CSR Sugar Refinery. Blackwattle Bay can be seen slightly to the left. More
![Caricature Of Three Men]. George Finey, 1895–1987 Australian](/pictures/thumb/CL198-102.JPG?v=1576814956)
c1930s. Ink with crayon and gouache, signed upper right, 26.2 x 44.3cm. Slight stains. George Finey’s caricatures were captioned as “the man of the week” in Smith’s Weekly where his work was published from 1921 to 1931. “In fearless portraits he distorted people’s features so that their characteristics and temperament..... More
![Cleaveland [Sic], Queensland. Miles Evergood, Australian](/pictures/thumb/CL170-6_1.JPG?v=1492493818)
1931. Pencil drawing, titled by Evergood in pencil below image, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 15.7 x 24.3cm. Minor stains to edges of image. Ref: GH169. More
1931. Watercolour, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 25.4 x 35.5cm. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p85. Ref: GH69. Exhibited in Gainsborough Gallery, Brisbane, 1932, and Argosy Gallery, Sydney, 1933. More
1931. Watercolour, 25.4 x 17.8cm. Ref: GH85. More
![Old Creek [Queensland]. Miles Evergood, Australian](/pictures/thumb/CL170-36.JPG?v=1492493798)
c1931. Oil on board, signed by Evergood lower right, annotated by the artist’s great-niece Gael Hammer in pencil verso, 30.5 x 40.9cm. Annotation reads “This may have been illustrated in Art in Aust., 1935.” Original artist’s supply label from New York verso. Ref: GH24. More
![Polly [NY]. Miles Evergood, Australian](/pictures/thumb/CL170-38.JPG?v=1492493800)
c1931. Oil on board, inscription “to Polly” scratched on image lower right, signed, and annotated by the artist’s great-niece Gael Hammer in ink on authentication label verso, 40.7 x 30.5cm. Minor surface loss to edges. Annotation reads “Pauline Konitzer Romero became Miles’ de facto wife. They met in 1930 and..... More
c1932. Pencil drawing, titled and signed in pencil below image, 20.5 x 17.9cm. Pinholes, soiling and foxing to margins, slight stains to upper and lower portions of image. This drawing was most likely a study for an etching for the 1932 publication Hobart: Eight etchings in facsimile by Charles Robinson..... More
c1931-1932. Watercolour, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 17.8 x 25.4cm. Ref: GH83. More
![Mt Nebo No. 1 [Queensland]. Miles Evergood, Australian](/pictures/thumb/CL170-39.JPG?v=1492493801)
c1931-1932. Oil on canvas, signed lower right by Evergood, signed by the artist’s great-niece Gael Hammer in ink on authentication label verso, 30.6 x 40.8cm. Surface cracking overall, slight surface loss to edges, laid down on board. Ref: GH60. More
c1932. Oil on canvas, signed lower left, 30.3 x 40.6cm. Laid down on board. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p64. Mount Nebo is 18km north of Brisbane. Ref: GH26. More
c1932. Oil on board, signed lower left, 30 x 40cm. Minor surface loss to edges. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p43. Ref: GH43. More
![Dorothy Thornhill]. Douglas Dundas, Aust](/pictures/thumb/CL192-30.JPG?v=1524199209)
1932. Pencil drawing, signed and dated lower right, 28.4 x 23.3cm. Slight foxing and paper loss to image centre. Image depicts the artist’s wife, painter Dorothy Thornhill. Dundas studied at the Sydney Art School with Julian Ashton. In 1927 he won the Society of Artists’ Travelling Scholarship, which enabled him..... More
1933. Watercolour with pencil, signed and dated in ink lower right, titled in pencil below image, 35.4 x 19.6cm. Minor stains to image, pinholes, tears and stains to margins. Under “Personals” in the Sydney Morning Herald on 29 June 1936 a classified reads “Mr H. Neville Barker, an artist, who..... More
![Central Station, Sydney]. Robert Emerson Curtis, Australian](/pictures/thumb/CL183-35_1.JPG?v=1486091832)
1933. Pair of pencil drawings, one with ink, each captioned, dated and initialled in pencil lower right, 23.2 x 20.3cm and 25.9 x 20.3cm (paper). Minor creases. Captions read “Central Railway Station” and “Central Station Tower, Sydney.”. More
![Pyrmont II [NSW]. Miles Evergood, Australian](/pictures/thumb/CL170-7_1.JPG?v=1492493820)
1933. Ink and wash, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 7.4 x 10.4cm. Minor creases to lower edge. The reverse side of the image features a printed invitation from “Miss Yolande Proctor to view an exhibition of oils..... More
c1931-1933. Watercolour, 25.4 x 17.9cm. A watercolour sketch, possibly by Polly, Evergood’s de facto wife, appears verso. Ref: GH80. More
c1933. Watercolour, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 25.4 x 17.8cm. Slight mount burn to edges. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p41. Also known as Flame Tree. Ref: GH74. More
![“Boomerang”, Elizabeth Bay, [Sydney]. Miles Evergood, Australian](/pictures/thumb/CL170-27.JPG?v=1492493791)
1933. Watercolour, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 19 x 28.5cm. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p59. Ref: GH75. Exhibited in Argosy Gallery, Sydney, 1933. More
1933. Watercolour, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 25.5 x 17.9cm. Artist’s home depicted in image. Illustrated and referenced in Hammer, Miles Evergood: No end of passion, 2013, pages 52 and 63. Ref: GH78. More
