[Portrait Of A Man In Front Of A Doric Column]
c1890s. Pencil drawing, signed lower left, 21 x 16.9cm. Minor surface loss and indentations to image centre, creases and tears to edges. Possibly a self-portrait. More
c1890s. Pencil drawing, signed lower left, 21 x 16.9cm. Minor surface loss and indentations to image centre, creases and tears to edges. Possibly a self-portrait. More
c1950s. Oil on paper, “The studio of Murch” estate stamp lower right, 30.7 x 25.6cm. Old creases, crinkles, oil stain outline verso. Artists Lloyd Rees and Arthur Murch were members of the Society of Artists, which was an “influential Sydney-based group of progressive artists who staged annual exhibitions from 1895..... More
c1984. Lithograph, editioned 9/20, titled and signed in pencil with “Victorian Print Workshop” blind stamp in lower margin, 40.8 x 57cm. Slight foxing. From the series Corner of a Room: Six lithographs by Brian Dunlop. Held in NGA. This image was most likely drawn in Dunlop’s house when he was..... More
1923. Ink and wash with gouache highlights, signed upper left, publishing annotations including date in crayon verso, 26 x 47cm. Minor perforations and missing portions to edges, repaired tears to lower left corner. Annotations include “Xmas, p28. Published Xmas ’23.”. More
1888. Oil on canvas, signed and dated “’88” lower right, 50.7 x 38cm. Wear to edges of canvas. Balmain-born Percy Spence “grew up in Fiji and began art classes in Sydney in about 1888. Spence built his reputation on black-and-white drawings for The Bulletin and other publications. He was a founding..... More
c1940s. Pencil sketch, signed lower centre, 24.5 x 25cm. Slight foxing, stains, creases. Sydney-born artist Rachel Mary Roxburgh was also an educator, conservationist, and architectural heritage campaigner. She studied at East Sydney Technical College and Adelaide Perry School. She exhibited with the Contemporary Group and the Society of Artists, and..... More
c1940s. Pencil drawing, signed lower right, 32 x 21.5cm. Slight stains, foxing and minor creases overall. More
1943. Pen and ink with wash, titled, signed and dated in pencil in lower margin, 17.8 x 12.7cm. Slight foxing, old mount burn. This image depicts a portrait of a Papua New Guinean indigenous man. The term “Fuzzy Wuzzy” seems to have originated in the 19th century with the British..... More
c1910. Pencil drawing, 12.6 x 16.8cm. Minor soiling to edges. Another drawing appears verso. Illustrated in Hammer, Miles Evergood: No end of passion, 2013, p48. Exhibited in Argosy Gallery, Sydney, 1933, and Castlemaine Museum and Art Gallery, 1988. Florence was Evergood’s sister-in-law. Ref: GH200. More
c1933-1935. Watercolour, 25.5 x 17.7cm. Another watercolour appears verso. Polly was Evergood’s de facto wife. More
c1933. Oil on board, signed lower left, 40.5 x 30.1cm. Slight stains overall, chips to edges. A landscape painting appears verso. Ref: GH52. 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
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
1930. Pencil drawing, annotated by Evergood in pencil below image, signed by the artist’s great-niece Gael Hammer in pencil and stamp with facsimile signature verso, 10.8 x 14.4cm. Old folds, creases, discolouration, slight tears to edges of image and margins. Annotation reads “1st lesson Polly dear.” Drawn on the verso..... More
c1943. Pencil drawing, initialled “N.L.” below image, 17.3 x 36.4cm. Slight foxing, crinkles. Framed. The model for this image may be a “Miss Wheeler,” who is illustrated in a similar pose in Bloomfield, Norman Lindsay: 80 years of pencil drawing, 2008, p161. More
c1960s. Oil on board, signed lower right, titled in ink in unknown hand on frame verso, 16.4 x 8.8cm. Slight surface soiling to image centre right. Framed. William Drew studied at the Melbourne Institute of Technology before going overseas in 1963. He lived in Rome, Paris and London and “travelled..... More