Tasmanian Club
c1927. Etching, titled, editioned 34/60 and signed in pencil in lower margin, 25.7 x 16.2cm. Minor foxing and slight creases to lower portion of image and margins. Held in the State Library of Tasmania collection. More
c1927. Etching, titled, editioned 34/60 and signed in pencil in lower margin, 25.7 x 16.2cm. Minor foxing and slight creases to lower portion of image and margins. Held in the State Library of Tasmania collection. More
c1928. Etching, titled, signed and editioned 4/50 in pencil in lower margin, 22.7 x 30.2cm. Cracking to plate mark due to excessive impression, repaired tear to upper margin, slight foxing to margins, old mount burn. This image was exhibited in 1928 at the 8th Annual Exhibition of the Australian Painter-Etchers’..... More
1928. Etching with aquatint, editioned 4/50, titled and signed in pencil in lower margin, 22.5 x 21.5cm. Minor paper remnants to right portion of image, repaired tears and missing portions to margins. Laid down on acid-free paper. Mendelssohn #89. Held in the National Gallery of Australia and Art Gallery of..... More
c1929. Etching and aquatint, titled and signed in pencil in lower margin, 20.1 x 24.8cm. Repaired tears to centre and lower left, minor stains to upper portion of image, foxing to margins, slight cracking to lower platemark. Laid down on acid-free tissue. Ref: SLNSW. More
1929. Etching, editioned 4/50, titled, annotated, signed and dated in pencil in lower margin, 18.1 x 23.5cm. Rubbing to signature and date. Annotation reads “said to have been home of ‘Commodore’ Blue. Built 1819.” Held in NGA. Billy Blue, a West-Indian convict who arrived in Australia in 1801, was granted..... More
c1929. Monotype with added gouache, signed in image lower right, 26.9 x 24.4cm. Tear and slight discolouration to centre of image, minor missing portion to left edge. Thomas Balfour Garrett, a church minister in Melbourne, became an artist much later in life, eventually moving to Sydney. His first exhibition was..... More
c1929. Linocut, 15.1 x 22.2cm. Minor paper loss to image lower centre, slight foxing to upper right corner. Provenance: Artarmon Galleries. Held in NGA; AGNSW. More
1929. Drypoint, signed and dated in plate lower left, editioned 1/50, titled and signed in pencil below image, 24.1 x 15.3cm. Minor surface loss and paper remnants to image lower left and centre right, stains and crinkles to margins, repaired tears to lower portion of image, old mount burn. Born..... More
c1930s. Etching, annotated, titled and signed in pencil and ink in lower margin, 16.2 x 24.6cm. Slight cracks to plate mark due to excessive impression, tape to corners of margins. Annotations include a cancelled edition note and “Old street across Pyrmont Bridge. Etched on zinc. These houses were drawn and..... More
c1930s. Etching, editioned 9/50, titled and signed in pencil in lower margin, 13.8 x 17.6cm. Repaired tears to plate mark, old mount burn. More
c1930s. Etching and aquatint, editioned 7/50, titled and signed in pencil in lower margin, 21.4 x 16.2cm. Slight old mount burn. More
c1930s. Colour linocut, signed in block lower right, 23.2 x 24.8cm. Dents and crinkles to margins, slight foxing overall. More
c1928-1930s. Consisting of 38 items including hand-coloured dye-line print plan, panoramic and other silver gelatin photographs, pencil drawing, etching, gouache illustration design, colour lithograph poster, certificate, and various process lithograph and process screen prints, several items signed or dated, most titled or captioned, sizes from 6 x 10.5cm to 100.3..... More
c1930s. Etching, editioned 7/25, titled and signed in pencil in lower margin, 17.7 x 15.1cm. Old mount burn. Emanuel studied etching with Sydney Long during the 1930s. His enthusiasm for this medium is highlighted in his book, The Etchings of Cedric Emanuel, 1980, where he states “I hope I have..... More
c1930s. Monotype, signed in image lower right, 26.9 x 24.5cm. Small perforation to image centre, slight foxing. More
c1930s. Etching, titled and signed in pencil in lower margin, 6.9 x 13.6cm. More
c1930. Etching, signed in pencil in lower margin, 20.6 x 39.1cm. Tears to margins, old mount burn. More
c1930s. Drypoint, editioned 14/25, titled and signed in pencil in lower margin, 13.8 x 17.5cm. Surface loss, creases and soiled margins. More
c1930s. Etching, editioned 8/75, titled and signed in pencil in lower margin, 18.3 x 26.4cm. Slight foxing overall, cracking to platemark, old mount burn. More
c1930s. Colour linocut, titled and signed in pencil in lower margin, 21.3 x 20.8cm. Minor cockling to edges. Framed. British-born Mary Packer Harris was a painter, printmaker, designer and embroiderer who also wrote and published books on art and Quaker beliefs. She taught at the South Australian School of Arts..... More
1931. Etching, titled, editioned 19/75 and signed “E. Warner” in pencil in lower margin, 12.9 x 16.3cm. Missing portions to margins not affecting image, old mount burn. Laid down on acid-free tissue. Held in SLNSW. More
c1931. Etching, editioned 1/50, signed and titled in pencil in lower margin, 41.5 x 32.8cm. Slight foxing, paper remnants and old mount burn to margins. This image of Hobart, which is most likely Emanuel’s largest etching, is held in the National Gallery of Australia. Born in New Zealand, Cedric Emanuel..... More
1932. Etching, titled, editioned 75/75 and signed “E. Warner” in pencil in lower margin, 18.1 x 19.7cm. Repaired cracking to left and right platemarks, rubbing and missing portions to margins. Held in SLNSW. More
1932. Etching, titled, editioned 84/90 and signed “E. Warner” in pencil in lower margin, 19.5 x 31.5cm. Old tape and repaired minor tears to edges of paper, foxing to upper margin, old mount burn. Held in SLNSW. British-born Warner trained as an engraver before first travelling to Australia in 1910..... More
1932. Etching, editioned 12/60, titled, dated and signed in pencil in lower margin, 14.5 x 21.8cm. Slight foxing to margins. More