Mount Nebo, Queensland
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
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
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
c1935. Oil on canvas, signed lower right by Evergood, titled by wife Polly Evergood in pencil and annotated and signed by the artist’s great-niece Gael Hammer in ink on authentication label verso, 30.4 x 40.5cm. Slight wear to edges, laid down on board. Annotation includes “Exhibited Athenaeum Gallery Dec. 1935..... 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
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
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
c1933. Oil on canvas, signed by the artist’s great-niece Gael Hammer in ink on accompanying authentication label, 30.6 x 40cm. Surface loss to image centre right. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p62. Ref: GH37. More
c1938. Oil on board, signed lower right, 29 x 39cm. Framed. Ref: GH59. More
c1937. Oil on board, signed lower right, 29.5 x 39.8cm. Framed. Ref: GH27. More
c1933. Oil on board, signed by the artist’s great-niece Gael Hammer in ink on authentication label verso, 30.6 x 40.5cm. Ref: GH36. More
1937. Oil on board, signed and dated lower left, 40.3 x 50.8cm. Minor chips to edges. Ref: GH33. More
1935. Oil on board, signed and dated lower left, 30.5 x 40.5cm. Slight chips to corners. Ref: GH31. More
c1930s. Ink and wash, accompanied by authentication note signed by artist’s sister Reta Morton, 24.2 x 22.3cm. Paper loss to lower edge of image. At the age of 29 in 1937, Normand H. Baker was the youngest artist to win the Archibald Prize with his self-portrait. Although relatively unknown at..... More
c1930s. Pencil drawing, accompanied by authentication note signed by artist’s sister Reta Morton, 24 x 21.2cm. Slight foxing, discolouration to edges. 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
1993. Watercolour with pencil and collage, artist’s stamp with initials, dated “March ‘73” in pencil lower right, 60.7 x 45.8cm. Minor cockling overall. Framed. The two collaged slips read “See the Crown Jewels, and the Famous White Cats” and “RTA Pylon Lookout & Exhibition.”. More
1966-1967. Pencil drawing, dated lower right, 27.5 x 36.4cm. Minor creases, tears to right edge and stains to lower portion. Provenance: artist’s estate. The Sydney Opera House Trust commissioned Robert Emerson Curtis to illustrate, stage by stage, the erection of the Sydney Opera House. Some of his images are illustrated..... More
1930. Pair of pencil drawings, each initialled, captioned and dated lower right, 16.5 x 25.9cm and 24.8 x 18.9cm. Trimmed margins. Captions read “On the Sydney Show Ground, Easter” and “Looking towards the grand stand, Sydney Show Ground.”. More
1979. Three crayon drawings, two signed, one initialled, each dated and captioned in pencil or crayon lower right or verso, sizes range from 27.8 x 23.7cm to 34 x 48.1cm. Minor foxing, old folds and minor tears to lower edge of one image, one with paint discolouration to lower portion..... More
1964. Wash and ink with crayon, signed twice and dated in ink lower left to right with accompanying original exhibition label handwritten by Curtis in ink, 47.5 x 66.3cm. Old glue stain to upper edge, minor cockling. Gladesville Bridge is an arch bridge that spans the Parramatta River. “When it..... More
c1940. Transfer drawing, titled and captioned lower left, 19.7 x 25.6cm. Old folds, slight foxing, trimmed left edge and corners. Caption reads “Period 1880. [Centenary] 1840 to 1940.” Shows the Garden Palace, purpose-built for the Sydney International Exhibition in 1879. This drawing is a study for a mural for Farmer..... More
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
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