141 Elizabeth Rooney Australian 1929-2016
Up Hill, Essex Street [The Rocks, Sydney], 1966. Etching, titled,
editioned 11/30, signed and dated in pencil in lower margin,
54.1 x 29.8cm. Minor foxing to image centre, lower right and
142 Elizabeth Rooney Australian 1929-2016
The Night The Bridge Came Down [Old Railway Arch Bridge, North
Sydney], 1966-1968. Etching with aquatint, titled, annotated
"artist's proof 3", signed and dated in pencil in lower
margin, 30 x 44.9cm. Old mount burn.
order to expand the Bradfield Highway approach to the Sydney
Harbour Bridge, the old railway arch bridge, as depicted in this
image, had to be dismantled.
143 Elizabeth Rooney Australian 1929-2016
Two Dogs, Hunter Street [Sydney], 1976. Etching and aquatint,
titled, editioned 2/12, signed and dated in pencil in lower mar
gin, 16 x 24.2cm. Minor cock ling and foxing to margins. Framed.
144 Elizabeth Rooney Australian 1929-2016
Hyde Park, Sydney, c1981. Etching, annotated "etching, 1st
state" and "A/P 2/5", titled and signed in pencil
in lower margin, 19.7 x 13.6cm. Soiling and foxing. Framed.
145 Elizabeth Rooney Australian 1929-2016
Bicentennial Project, Fig Street [Pyrmont, Sydney], 1986. Etching
with aquatint, titled, editioned 13/30, signed and dated in pencil
in lower margin, 25 x 50.3cm.
the Goldsbrough Mort building which was built in 1883 as a wool
store. Held in NGA.
146 J.T. Rosendale
Chinese Gardens, 1922. Oil on board, signed and dated lower right,
titled and signed with address in pencil and ink on label attached
verso, 27.2 x 34.8cm. Minor soiling. Framed.
includes "J.T. Rosendale, 74 Cairo Street, North Sydney."
147 Harry Rosengrave Australian 1899-1986
Belgrave Rail, 1952. Colour linocut, titled, editioned 13/30,
signed and dated in pencil in lower margin, 22.5 x 23.5cm. Minor
stains to margins.
in NGA. Born in Victoria, painter and graphic artist Harry Rosengrave
attended the National Gallery School (Vic.), the George Bell
School and the Melbourne Technical College. A close associate
of Fred Williams, he exhibited widely in Australia. His works
are held in several major institutions. Ref: McCulloch's.
148 Harry Rosengrave Australian 1899-1986
The Rope Trick, 1953. Colour lithograph, titled, editioned 13/20,
signed and dated in pencil on image lower left to right, 27.8
x 33.5cm. Uneven trimmed margins.
149 Harry Rosengrave Australian 1899-1986
The Old Court House, Old Steiglitz [Victoria], 1966. Colour linocut,
titled, editioned 13/20, signed and dated in ink in lower margin,
36.3 x 42.3cm. Creases, tears, missing portions, discolouration
foxing to margins.
in NGA. Named after the von Stieglitz family of pastoralists
who settled in the area in 1835, Steiglitz is an old gold mining
town located in the Brisbane Ranges west of Melbourne between
Geelong and Ballarat. During the late 1870s the population of
the town declined along with the gold rush. The last gold mine
in the town closed in 1941. Ref: Wiki.
150 Ellis Rowan Australian1848-1922
[Flowering Dogwood], c1890s. Watercolour and gouache, faint signature
lower left, 53 x 37cm.
151 Henry Salkauskas Lithuanian/Australian 1925-1979
Black Harbour, 1961. Linocut, signed, editioned 22/33A and dated
in pencil in lower margin, 50.9 x 36.9cm. Old mount burn.
Salkauskas studied art in Paris and Germany after WWII. In 1949
he moved to Australia and worked as a house painter in Sydney
while pursuing his art career. He joined the Contemporary Art
Society and exhibited widely. He was an enthusiastic printmaker,
encouraging artists to take up this art form. His work is held
in AGNSW and NGA. Ref: DAAO.
152 Ronald H. Steuart Australian 1898-1988
Monotype I and Monotype II, c1960s. Pair of colour monotypes,
titled and signed in ink below image, 31 x 25cm and 27 x 21cm.
Hewison Steuart was a life member of the Australian Watercolour
Institute, which he joined in 1934. He won the Wynne Prize in
1958. His work is held in AGNSW, AGSA and NGA.
The pair $990
153 Jorg Schmeisser German/Australian 1942-2012
[Nude Holding Damaged Vase], 1972. Etching, editioned 7/20, signed
and dated in pencil in lower margin, 9.8 x 9.8cm. Old mount burn.
154 Gayfield Shaw Australian 1885-1961
The Sydney Mint, 1934. Etching, signed and dated "29/3/34"
in plate lower left, faintly editioned 14/50[?], titled and signed
in pencil in lower margin, 22.6 x 30.3cm. Rubbing to upper centre,
edges and margins, missing portions to lower margin.
in Powerhouse Museum.
155 David Strachan British/Australian 1919-1970
Ils Se Buiant (They Make Arches), c1950s. Pencil drawing, initialled,
annotated "U/S" and "A100" in ink lower right,
titled in pencil in French verso, 19 x 24.3cm (paper). Minor
tears to right edge, slight stains.
artist's sister, Margery Ann Strachan.
156 David Strachan British/Australian 1919-1970
[The Fruitpicker And Blacksmith], c1950s. Pencil drawing, initialled
and annotated "U/S" and "A11" in ink lower
right, 24.4 x 18.1cm. Creases overall, slight stains to upper
artist's sister, Margery Ann Strachan.
157 David Strachan British/Australian 1919-1970
The Idiot, 1951. Soft-ground etching with aquatint printed in
colour, captioned "The Fool", signed and editioned
16/50 in pencil below image, title printed in colour verso, 27
x 36cm. Paper tape over image upper left, minor tear to right
and lower edges, old mount burn.
used as the main double page illustration for Kershaw, Accent
and Hazard, 1951. Ref: Klepac, David Strachan, 1993, p120. Held
158 David Strachan British/Australian 1919-1970
[Vignette For "The Blind Man"], 1951. Etching and aquatint
with poem, signed in plate and editioned 7/50 in pencil on image
lower left, 30 x 39.7cm. Minor discolouration. Framed.
created for Kershaw, Accent and Hazard, 1951. Illustrated in
Klepac, David Strachan, 1993, p118.
159 Les Tanner Australian 1927-2001
Sir Robert Menzies, c1966. Plaster bust, 42 x 28 x 25cm. Added
graphite to eyes.
in Glebe, NSW, Les Tanner was one of Australia's best-known political
cartoonists and columnists. At an early age he showed a talent
for drawing portraits. While studying at the Julian Ashton Art
School he worked at The Daily Telegraph, initially as an apprentice
printer, but was soon after transferred to the art department
where he worked under artists Frank Broadhurst and William Edwin
Pidgeon (aka WEP). During the 1960s, while working as the art
director and cartoonist for The Bulletin, Tanner branched into
sculpted caricatures in plaster and ceramic. Ref: NPG.
160 Dorothy Thornhill British/Australian 1910-1987
Susannah, 1936. Oil on can vas, signed and dated lower right,
titled and signed in pencil on stretcher verso, 64.5 x 44.5cm.
Minor scuffing and perforations lower right. Framed.
Dundas and Thornhill estate. Painter and teacher at the National
Art School for almost forty years, Thornhill was the second wife
of her former teacher, Douglas Dundas. Painter Brian Dunlop said
her drawing, "devoid as it was of formula and cliché,
was among the finest ever produced in this country." Ref:
DAAO. 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 47 of the same subject
by husband Douglas Dundas.