Australian and International Fine Art Auction.
October 2017.
Lot 76
Patricia Giles (1932- ) Autralia
Cape Bernier from Marion Beach 1985
Watercolour
39 x 55cm (sight)
61 x 84cm (frame)
Condition Excellent, Frame knocked
Signed lower left
SOLD
Lot 77
Blair Gamble (1935 - ) Australia
(Tidal Pool) 1977
Oil on canvas
43 x 68 cm (sight)
49 x 73 cm (frame)
Condition Good
Signed lower right
SOLD
Lot 78
Max Angus (1914 - 2017) Australia
(East Coast)
Watercolour
25 x 35 cm (sight)
51 x 59 cm (frame)
Condition Good
Signed lower right
SOLD
Lot 79
Patricia Giles (1932- ) Autralia
View from My Studio
1988
Watercolour
42 x 53cm (sight)
67 x 80cm (frame)
Condition Excellent
Signed lower right
Estimate $600 - $700
Lot 80
Patricia Giles (1932- ) Autralia
River and Rocks, Swan River, Tasmania
Watercolour
43 x 50 cm (sight)
65 x 76 cm (frame)
Condition Excellent
Signed lower left
SOLD
Lot 81
Max Angus (1914 - 2017) Australia
Summer Dawn, Binalong Bay
Watercolour
53 x 38 cm (sight)
70 x 56 cm (frame)
Condition Excellent
Signed lower right
SOLD
Lot 82
Harris Smith
Moonrise, Richmond 2004
Oil on paper
19 x 50 cm (sight)
50 x 80 cm (frame)
Condition Excellent
Signed lower right
Private collection Hobart; Strickland Gallery, Tasmania
SOLD
Lot 83
Claire Badcock
Two Farmers 2004
Textile sculture
35 x 13 x 9 cm
Condition Good
signed & dated on base
Private collection Hobart; Handmark Gallery
SOLD
Lot 84
Lloyd Frederic Rees (1895 - 1988) Australia
The Utzon Vision 1983
Screenprint A/P
50.5 x 63cm (plate)
76 x 84cm (sheet) unframed
Condition Good
Signed lower left on plate L Reed 1966, Signed & dated lower right below plate
Private collection Hobart; Artist's studio Northwood
Estimate $500 - $700
These works come from a period where Lloyd Rees was working with the print studio and master printmakers handled different pieces including the screen prints where Pat Corrigan did Emerging City, Christine Coburn handled one and Barbara Coburn handled the third.
Lot 85
Lloyd Frederic Rees (1895 - 1988) Australia
From the Artists Verandah-Northwood 1985
Screenprint A/P , Imp K. Coburn Studio stamp lower left
55 x 74cm (plate)
66.5 x 102cm (sheet) unframed
Condition Good
Signed & dated lower right below plate
Private collectilower Hobart; Artist's studio Northwood
SOLD
These works come from a period where Lloyd Rees was working with the print studio and master printmakers handled different pieces including the screen prints where Pat Corrigan did Emerging City, Christine Coburn handled one and Barbara Coburn handled the third.
Lot 86
Lloyd Frederic Rees (1895 - 1988) Australia
Emerging City 1985
Screenprint A/P , Imp K. Coburn Stdio stamp lower left
36 x 53 cm (plate)
57 x 76cm (sheet) unframed
Condition Excellent
Signed & dated lower right below plate, title centre below plate
Private collection Hobart; Artist's studio Northwood
SOLD
These works come from a period where Lloyd Rees was working with the print studio and master printmakers handled different pieces including the screen prints where Pat Corrigan did Emerging City, Christine Coburn handled one and Barbara Coburn handled the third.
Lot 87 #
Geoff Dyer (1947- ) Australia
Morning Light
Watercolour
52 x 75 cm (sight)
90 x 114 cm (frame)
Condition Excellent
SOLD
Lot 88
Philip Wolfhagen (1963-) Australia
Hunting Scene (Trophy) 1987
Etching Ed AP
114 x 76 cm (plate)
114 x 80 cm (sheet) unframed
Condition Excellent
Signed & dated lower right below plate, title centre below plate
SOLD
Lot 89
John Ruskin (1819 - 1900) Britian
Modern Painters 1851
5 Volumes
Condition Excellent
5th Edition London Smith, Elder and Co, 65 Cornhill
SOLD
London: Smith, Elder & Co.,, 1851. 5 volumes, octavo (256 x 173 mm). Finely bound by Hale RDWorth Mancester , marbled endpapers, top edges gilt. Illustrated in volumes III, IV, and V. Covers slightly edgeworn, head/foot of spine and corners bumped, boards scuffed in places but overall clean and in good condition. Bindings secure. Slight foxing. Silk ribbon to volume IV.
Fifth edition, revised by the author. A handsomely bound set. Ruskin's "earliest major work was Modern Painters, of which the first volume, containing the celebrated defence of Turner, appeared anonymously in 1843... Modern Painters was to occupy Ruskin for another seventeen years, spanning the whole period of his writing on art... The second volume, a survey of Italian art which demands special notice as one of the direct causes of the foundation of the Pre-Raphaelite Brotherhood, appeared in 1846... In 1851 Ruskin put his name to Modern Painters. The fourth volume (1856) was devoted to a favourite Ruskinian subject, mountain scenery and its formation. Both here and in the last volume the illustrations are beautifully engraved - Ruskin took an infinity of pains with the quality of the workmanship - often after his own exquisite drawings, which he thought of as merely diagrams but which are now valued as some of the most original watercolours ever executed. The fifth volume appeared in 1860, eliciting from Dante Gabriel Rossetti the gibe that its subjects would be Old Masters before Ruskin had finished. But Ruskin had finished" (PMM).
