1909. Oil on board, signed “M.E. Blashki” and dated lower left to right, artist’s name and title in an unknown hand in ink on label verso, 30.4 x 40.8cm. Slight stains overall, surface loss and missing portion to edges. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p24.....
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c1910. Watercolour, 31.8 x 66.2cm. Stains to upper right and lower centre.
1911. Watercolour with ink and gouache, signed and dated in ink lower right, 32.3 x 22.9cm. Minor paint loss to image upper left, foxing and missing portions to margins.
c1913. Pencil drawing, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 9.4 x 13.1cm. Slight discolouration to edges. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p48. Exhibited at the Great Synagogue, Sydney, 1989. Ref: GH111.
1913. Oil on canvas, signed “M. Evergood Blashki” and dated lower right, titled and annotated in an unknown hand in pencil verso with Chelsea art stores stamp, 30.5 x 40.7cm. Minor stains to upper portion, slight dents and surface loss to corners, laid down on board. Annotation reads “Exhibited at.....
1913. Pencil drawing, titled, signed and dated lower left, 26.4 x 18.3cm. Slight foxing, stains, soiling and crinkles overall, pinholes to lower margin.
c1910-1914. Pencil drawing, signed by the artist’s great-niece Gael Hammer in pencil and stamped “From the studio of Miles Evergood” verso, 16.8 x 13cm. Slight soiling to upper centre. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p6. Ref: GH163. Exhibited in Kozminsky Galleries, Melbourne, 2001.
c1915. Watercolour, signed verso, 25.2 x 16.8cm (paper). Slight cockling. Olga Rozanova was a Russian Constructivist painter, who experimented with Cubism and Futurism before settling on her particular abstract style. She was among the first in Russia to advocate abstract art in an essay published in 1913. She illustrated several...
c1916. Oil on canvas, titled lower centre, 44 x 58cm. Minor surface loss to centre of image, slight soiling and crazing overall. Original frame. HMS Talbot was a cruiser built for the British Royal Navy in the mid-1890s. During WWI Talbot participated in the Battle of Gallipoli. The cruiser was...
1916. Pen and ink, signed and dated lower right, annotated in pencil below image, 13.6 x 14.1cm. Indentations to left edge of image, slight stains and discolouration overall. Annotation reads “‘Delight.’ [And on mule, riding swiftly] soon came into view, [That most amiable person] good Isaac, the Jew.” Illustrated in.....
1917. Ink drawing, signed, dated and titled lower left and centre, 21.6 x 15.4cm. Repaired tears and missing portions to edges, old mount burn. Laid down on acid-free paper. Horace Ascher Brodzky was an Australian-born artist and writer, who worked mainly in London and New York. He was an early...
c1920s. Gouache, obscured signature lower centre, sketch verso, 24.6 x 16.1cm. Minor paint loss and slight missing portion to image right and lower left corner, old glue stains to margins. One winged figure captioned with “Hopes.”.
c1920. Ink and wash, stamped signature upper right, “Lewis and Patricia Morley” ex-libris label attached to frame verso, 34.1 x 20.4cm. Cockling and foxing. Framed. Provenance: Lewis Morley estate.
c1910s-1920s. Watercolour, signed “Fukanori” lower left, 49.3 x 33.2cm. Slight foxing to margins. Provenance: W.A. Pennell estate. See Item 23.
c1920s. Watercolour, signed lower left, 50.7 x 34.3cm. Repaired minor tears to lower edge.
c1920s. Watercolour, signed lower left, 32.6 x 51cm. Old mount burn to edges.
c1920s. Watercolour, signed in pencil lower right, 25.8 x 38cm. Slight foxing overall, old mount burn to edges.
c1920s. Pen and ink with pencil and water-colour, titled lower centre, 26.1 x 22.3cm. In the style of Jean Dupas.
1926. Ink and wash with coloured pencil, signed “Deane” and dated upper left, 27.1 x 16cm. Minor foxing overall, pinholes, tipped to original backing.
1926. Watercolour, signed and dated lower left, 22.7 x 19.5cm. Pinholes, minor stain to upper left margin, old mount burn.
1926. Watercolour, signed, titled and dated in ink lower left, 22.5 x 33.1cm. Minor foxing and paper loss to image left edge.
1926. Watercolour and pencil, signed “Rual” and dated in image lower left and centre, 47.3 x 57.5cm. Slight foxing and crinkles.
c1929. Oil on board, signed and annotated by the artist’s great-niece Gael Hammer in pencil on authentication label verso, 30.3 x 40.5cm. Slight surface loss to edges. Annotation reads “Probably from USA period, 1922-31.” Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p40. Ref: GH9.
c1930s. Double-sided oil painting on paper, signature incised into image lower right, titled and signed in ink below image verso, 68.2 x 50cm. Pinholes, missing portions and tears to edges, slight crinkles. Verso image shows a musician playing a banjo. Maurice Bilton was a lecturer at Ridgewood Art Institute (RAI)...
c1930s. Pencil with white highlight, signed upper right, 12.5 x 10.8cm.