Fine Art Auction

Born in the UK and arrived in Tasmania in 1921, studied 1925-29 Hobart Technical College under Dechaineux, fellow students include Edith Holmes, Eileen Crowe, Jean Bellete. Studies George Bell School, Melbourne, where she remembered Russell Drysdale as fellow student. 1940 appointed art instructor Hobart Technical College remained until retirement 1964, notable among fellow instructors where Jack Carrington Smith, Rosamond McCulloch, George Davis, notable students included Tony Woods, Owen Lade. April 1949 till June 1950 she studied at the Anglo-French Centre, St Johns Wood, London and in Paris at the Academie Chaumiere, and Atelier Croqouis, Paris. She also took extra instruction privately from Eduoard-Georges MacAvoy (who taught at the Chaumiere), interested in the school of Paris' such as that by Picasso, Matisse, Marcharnd and Yves Brayer.

After some travel in France Italy and England (where she met Philip Connard and attended classes at Goldsmith's College, London, she returned to Hobart in 1950. Further studies at East Sydney Technical College under John Passmore, Godfrey Miller and Dorothy Thornhill 1961 - 1966. Late teaching connections connected her with Frank Hodgkinson and Michael Shannon. First exhibited Art Society of Tasmania 1929, founding member Contemporary Art Society of Australia in Melbourne and Hobart.
Reference Edith Holmes Dorothy Stoner two retrospectives Hendrik Kolenberg TAMG 25 August - 2 October 1983

One of Tasmania’s most prominent landscape painter, Geoff Dyer is best known for having won the Archibald with his portrait of Tasmanian environmentalist and writer, Richard Flanagan. Geoff Dyer’s expressive landscapes reflect Tasmanian and Australian scenes. Geoff Dyer has exhibited throughout Australian and internationally for the last 30 years, major shows including China and New York. Geoff Dyer describes the inspiration behind his work including ‘Turner, the genius of light, whose paintings dissolve into vapor and shadowy forms and, ultimately, anticipate a new language of art, that of the abstractionists of the 20th century.

One of Tasmania’s most prominent landscape painter, Geoff Dyer is best known for having won the Archibald with his portrait of Tasmanian environmentalist and writer, Richard Flanagan. Geoff Dyer’s expressive landscapes reflect Tasmanian and Australian scenes. Geoff Dyer has exhibited throughout Australian and internationally for the last 30 years, major shows including China and New York. Geoff Dyer describes the inspiration behind his work including ‘Turner, the genius of light, whose paintings dissolve into vapor and shadowy forms and, ultimately, anticipate a new language of art, that of the abstractionists of the 20th century.

Studies at Antonio Dattilo-Rubbo’s Saturday morning class and later East Sydney Technical College and Julian Ashton’s Sydney art School. In 1934 he left for London where the modernist artist Roy De Maistre, who had been an early influence, introduced him to artists and galleries. He exhibited in London 1935-38 returning to Sydney 1939 exhibiting at Macquarie Galleries. After the war he spend 5 years in London returning 1955 and living in Adelaide. AGSA Retrospective 1984 and joint exhibition of his art with that of his wife Dora Chapman in 1995.

SOLD

Early studied at Kolner Werkschulen in Germany, appointed Lecturer Printmaking SASA 1960-63, RMIT 65-71, Head school of Art, Tas 72 -78, Head of School of Art, Canberra 1978-

Highly regarded Tasmanian based painter with high level of realism and narrative, she has been represented in the Glover Art Prize 2010-12, and also finalist in Tattersalls and City of Albany.

An outstanding artist with a career covering many decades, Rees early studies and interest lay in careful studies of topography and buildings. From Brisbane he moved to Sydney 1917 and 1923 marked his first trip overseas. Lloyd stayed at Kingsand in Cornwall with the Brantons, people he met on the voyage to England. This painting was presented to Lloyd’s sister Enid and her husband Merlin, of Brisbane; hence by descent.

This painting is listed as ‘Plymouth Sound’ however it is also labelled ‘Barrenjoey Lighthouse’ Further to research and reference through the Allan and Jan Rees, the following would seem fitting, and that original title of this painting was Plymouth Sound.

Exhibited The Art of Lloyd Rees Exton House, Brisbane 22 July to 1st August, 1924 Cat 3 ‘Plymouth Sound, oil.’ Ref Renee Free’s Lloyd Rees, 1972 Cat 09,’ Plymouth Sound 1923 Oil 9 3/8 x 13 3/8. Collection of Mr Merlin Rees, Brisbane, Qld’ p.109. Merlin died at the end of 1971 and it is presumed that he provided the data for this work to Renee Free for the publication in 1972. Label on verso Queensland Art Gallery ‘Barrenjoey Lighthouse/ From the collection of Mrs E Rees (and late Mr M Rees)’ Exhibited Queensland Art Gallery / Warana Festival A Tribute to Lloyd Rees Sept – Oct 1975 Cat no 13 Barrenjoey Lighthouse, oil 24 x 34cm Details for this catalogue presumed to have been provided by Enid, who perhaps had not remembered the title, provided an erroneous one.

Notes
This is the only work by Lloyd Rees within the estate and by descent from his sister Enid. The Plymouth Sound and Barrenjoey Lighthouse share the same medium, dimensions and provenance, in all catalogues and book references. The subject is certainly not Barrenjoey lighthouse which is on a headland. Topographically the scene could be the lighthouse on the western end of the Plymouth Breakwater, with Fort, these features being easily visable from where Lloyd’s accommodation in Cornwall. The style of this painting is consistent with his other Cornish paintings (see illustrated in Renee Free Lloyd Rees 1972 p. 109 Cat 11 A Cornish Village 1923, Cat 12 The Old Fort, Portsmouth Harbour 1923, Cat 14 Cornish Coast 1923). (Also see additional image ‘The Lane’ 1924) There is no record of anything titled Barrenjoey Lighthouse, certainly from the 1920’s period, prior to the Warana Festival.

Consistent with evidence of catalogue records and family ownership, it is confident to say that this is the painting originally know as Plymouth Sound.

Glasgow born and educated, John Mather came to Melbourne pursued a full time career as an artist, also working as an interior decorator. Foundation member of the Victorian Artists Society and also the Australian Art Association. His own works were very much in the plein air tradition, but he worked separately from Louis Buvelot and his circle.

Charles Edward Conder (1868-1909), painter, lithographer and fan-designer, was born in London, his father subsequently sent him to NSW arriving 1884, to work under his uncle, William Jacomb Conder, where he was employed in the office of the Lands Department.
Late in 1886 or early in 1887 Conder became lithographic apprentice to Gibbs, Shallard & Co. in Sydney and from April to October 1887 attended painting classes at the Art Society of New South Wales under the French-trained landscape painter, Alfred Daplyn, and also studied Julian Ashton, Sydney's foremost open-air painter and portraitist, who took Conder on sketching tours along the Hawkesbury River. Conder also painted with Albert Fullwood, and was in contact with the Italian Marchese Girolamo Nerli, a fashionable society portraitist, and the English cartoonist Phil May, then employed by the Sydney Bulletin,
From October 1888 to April 1890 Conder settled in Melbourne; there he first shared a studio with Roberts. Together with Arthur Streeton, Roberts and other painters he spent the summers of 1888-89 and 1889-90 at the Eaglemont 'camp' near Heidelberg. Conder played a memorable part in the growth of the first Australian school of open-air painting, in the exhibition of 9 x 5 impressions at Buxton Galleries, Swanston Street, on 17 August 1889 for which he designed the invitation and exhibiting some 47 works, also contributed to the exhibitions of the Victorian Artists' Society of November 1888, May 1889 and March 1890.
He returned 1890 to Paris and London, studying at Cormon’s atelier and where he mixed with literary and artistic identities including the likes of Oscar Wilde, Audrey Beardsley, Whistler and Henri de Toulouse-Lautrec.
He took up residence in London in 1894 but made frequent journeys to Normandy and Dieppe. After 1895 he became increasingly preoccupied with fan designs and working in water-colour on silk which laid the foundations of his fame, and was encouraged by William Rothenstein to make lithographs. In 1900 Conder married Stella Maris Belford, and for the next six years led a socially graceful life, however after 1907 frequently confined to a sanatorium, and died 1909, Surrey.

The painting ‘Le Passeport’ is a beautiful work and in excellent condition. It was first exhibited in
1901 at M.Moret’s, 15 Rue Royale, Paris cat no 12 (Ref Frank Gibson Charles Condor His Life & Works, Bodley Head Press London 1914 p.98) Label on verso notes ‘Exhibited at the Wisseling-hs Dutch Gallery Nov. & Dec. 1903; The work is further listed ‘Collection Mrs Robichaud’ (Ref John Rothenstein The Life & Death of Condor, Dent London 1938 p.277); Tolarno Galleries, South Yarra, Melbourne stickers on verso. It was purchased from Leonard Joel Auctions c1970, hence to collection of a private gentleman.