c1930s. Watercolour, unsigned, 41.6 x 37cm. Pinholes to edges, slight foxing. Provenance: artist’s estate. More

c1930s. Gouache, 20.2 x 25.4cm. British-born Martin Frank Stainforth is best known for portraits of thoroughbred racehorses he painted in England, Australia and the United States. Ref: Wiki; ADB. More

c1930s. Charcoal drawing, artist’s signature stamped lower right, annotated “Bacon” and “5” in pencil and ink in unknown hand verso, 22.5 x 10cm. Foxing to image centre and edges, minor stain to image upper centre, slight discolouration to edges of paper. A faint abstract sketch appears verso. Provenance: Philip Bacon Galleries..... 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

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

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

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

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

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

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

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

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. 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