41 Roy Dalgarno Australian 1910-2001
Miners In Broken Hill, 1947. Ink and wash study, titled, signed
and dated lower left to right, artist's annotations throughout,
25 x 32.8cm. Minor foxing and creases overall.
42 Stan de Teliga Australian 1924-1998
[Sailing], 1958. Watercolour with ink, signed and dated in ink
lower right, 27.6 x 37.8cm. Minor tear to image lower right.
artist and teacher Stan de Teliga studied at Sydney's National
Art School and later taught art there, as well as at the University
of Sydney, Alexander Mackie College and the City Art Institute.
He managed a number of art galleries including the Tasmanian
Museum and Art Gallery and the Blaxland Gallery in Sydney. His
work is represented in state and regional galleries. Ref: NPG.
43 Stan de Teliga Australian 1924-1998
[Construction Site], 1958. Watercolour with ink, signed and dated
in ink lower right, 39 x 28.5cm. Minor foxing, glue and paper
remnants to lower edge.
44 Stan de Teliga Australian 1924-1998
[Gladiator], 1959. Watercolour with ink, signed and dated in
ink lower right, 39.9 x 29.2cm. Paper remnants to left edge.
45 Cyril Dillon Australian 1883-1974
[Portrait Of Aboriginal Woman], c1921. Etching, signed in pencil
in lower margin, 17.8 x 14.4cm. Repaired tears and missing portions
to margins. Laid down on acid-free tissue.
46 Russell Drysdale Australian 1912-1981
Old Dan, 1964. Lithograph, titled, editioned 67/75, signed and
dated in pencil below image, 69.4 x 49cm. Minor stains upper
in Art Gallery of South Australia.
47 Douglas Dundas Australian 1900-1981
After Auguste Renoir (French, 1841-1919). [Susannah], c1936.
Oil on canvas, signed in pencil on stretcher verso, 59.6 x 49.7cm.
Slight scuffing and paint loss. Framed.
Dundas and Thornhill estate. The image seems to be have been
inspired by one of the figures in Renoir's 1917 painting depicting
two bathers. Ref: Athenaeum (USA). Renoir's model may have been
artist Marie-Clémentine Valadon, who was nicknamed "Suzanne"
by Toulouse-Lautrec after the biblical story of Susanna and the
Elders. See also item 160 for the same subject by Dorothy
Thornhill, Dundas' wife.
48 Brian Dunlop Australian 1938-2009
Vee, 1960. Crayon, titled upper right, signed and dated in ink
lower left, 25.2 x 18.6cm (paper).
49 Cedric Emanuel Australian 1906-1995
Bare Island Fort, Botany Bay, 1970. Pencil drawing, titled and
signed lower right, 20.2 x 25.5cm. Old tape remnants to upper
edge, minor surface loss and creases to corners.
in Emanuel, Historic Sydney: drawings and notes, 1970,
p65, with the comment "Bare Island stands as one of the
rare examples of fortress architecture in Australia." In
1885 British colonists thought an invasion by Russia was imminent.
Subsequently, they built the Bare Island Fort to protect Botany
Bay (then known as 'Sydney's back door'). Ref: National Parks,
50 Adrian Feint Australian 1894-1971
[The Party Is Over], 1920. Ink and wash, signed and dated upper
left, 30.5 x 27.8cm. Slight foxing overall, surface loss, rubbing
and stains to margins, old mount burn.
early, detailed work by Feint.
51 Adrian Feint Australian 1894-1971
[Woman Making An Offering To Dionysus], 1920. Ink drawing, signed
and dated upper right, 21.4 x 21cm. Minor foxing and surface
loss, old mount burn.
52 Adrian Feint Australian 1894-1971
Original Artwork For Society Of Artists Catalogue, 1945. Gouache
with pencil, booklet format, dated upper centre and signed in
gouache lower right, 14.3 x 10.9cm. Slight stains overall.
colour swatch attached to inside cover.
53 George Finey Australian 1895-1987
[Caricatures], c1930s. Seven crayon drawings, each signed upper
or lower right, one titled "Mr Farr-A-Loft" in pencil
below image, sizes range from 26.7 x 20cm to 28.3 x 22.8cm. Each
with stains and missing portions to edges not affecting image,
some with minor tears in image, slight soiling overall.
were created during the most important period of Finey's career.
His work was so popular that in June 1931 a special issue of
Art in Australia was devoted to his caricatures.
The group $5,500
54 Michael Fitzjames Australian b.1948
Nature Morte, 1976. Coloured and graphite pencil drawing, titled
centre right, signed and dated lower left, 27.3 x 28.3cm. Minor
foxing to upper right portion, old mount burn.
55 John Richard
Flanagan Australian 1895-1964
Student Of Poison, c1920s. Ink and wash, signed lower left, titled
in pencil with trimmed publishing stamp verso, 47.4 x 47.4cm
(paper). Slight soiling throughout, paper remnants to edges,
likely an illustration for a Conan Doyle serial in the American
magazine Collier's, founded in 1888. Ref: Wiki. A Sydney-born
illustrator and cartoonist, Flanagan studied at the Royal Art
Society of NSW. In 1916 he left Australia to work in the USA,
becoming well-known for his illustrations in several publications
including Collier's, and Cosmopolitan. Ref: DAAO.
56 James Flett Australian 1906-1986
The Old Captain, 1929. Colour linocut, initialled in block lower
left, signed, editioned 23/25 and titled in pencil in lower margin,
21.6 x 18.3cm. Minor paper loss to left edge of image.
of Flett's grandfather. Illustrated in Butler, A Survey of
Australian Relief Prints 1900-1950, p44. Held in Castlemaine
57 James Flett Australian 1906-1986
Berries, c1932. Colour linocut, monogrammed "F" in
block lower right, signed, editioned 21/25 and titled in pencil
in lower margin, 23.5 x 23.3cm. Creases with cracking and minor
cockling to image, stains, repaired paper loss and tears to margins.
Laid down on acid-free paper.
58 Thomas Friedensen British/Australian 1879-1931
Cockatoo, 1927. Etching, editioned 20/75, titled, signed and
dated in pencil in lower margin, 21.4 x 18.9cm. Minor soiling
59 Herbert Gallop Australian 1890-1958
Pittwater [NSW], 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
60 James Gleeson Australian 1915-2008
Paolo And Francesca, c1940s. Watercolour with pencil on folded
paper, annotations concerning colours in margins, titled overleaf,
24.9 x 19.5cm. Pinholes and slight stains to margins.
and Francesca da Rimini were adulterous lovers who were portrayed
in Dante Aligheri's The Divine Comedy. In the poem, they are
condemned to the second circle of hell, reserved for the lustful.
Paolo and Francesca were the subject of countless works of art,
including Rodin's 'The Kiss.' Ref: Wiki; Tate.