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Painted Works from Artists M - R in the Collection of the Manly Art

Gallery& Museum.




The Artists

Mansell, Byram,  1899 - 1977
McClintock, Herbert,  1906 - 1985
McCubbin, Louis,  1890 - 1952
Medwork, Frank,  1892 - 1947
Meldrum, James, b. 1931
Meldrum, Max,  1875 - 1955
Mendel, Beryl
Milgate, Rodney,  b. 1934
Miller, Godfrey,  1839 - 1964
Milward, Clem,  b. 1929
Moxham, Miriam, 1885 - 1971
Murch, Arthur James,  1902 - 1989

Needham, George
Nixon, Trevor,  1914 - ?
Nobili, Luigi, 1889 - ?

O'Brien, Justin M,  1917 - 1996
Olsson, Julius
Orban, Desiderius,  1884 - 1986

Palmer, Janet
Palmer, Robyne
Pengalse, Marjory,  1922 - 1989
Perry, Adelaide, 1891 - 1973
Petty, Bruce,  b. 1929
Petyarre, Gloria Tamerre, b. c.1945
Pickersgill, Henry,  1782 - 1872
Piguenit, William Charles,  1836 - 1914
Plate, Carl,  1900 - 1977
Powditch, Peter, b. 1942
Power, Harold,  1878 - 1951
Preston, Margaret,  1875 - 1963

Rasdall, Meredith
Read, Arthur Evan, 1911 - 1978
Rees, Lloyd,  1895 - 1988
Rehfisch, Alison,  1900 - 1975
Reni, Guido,  1575 - 1642
Riley, Jo
Roberts, Tom,  1856 - 1931
Russell, Elsa,  1909 - 1997




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The Works


0641

Mansell, Byram

AUSTRALIAN, 1899 – 1977

The Corroboree, 1949

Earth colours dug by the artist on cardboard, 43 x 75cm

Signed and dated LRC, earth colours 'Byram Mansell 49'. Stamp LLC, 'Woolloomooloo Gallery/84-86 Nicholson St/Woolloomooloo N.S.W. 2011 356-4220'.

Acquired by the Gallery, 1989

 


0642

Mansell, Byram

AUSTRALIAN, 1894 – 1977

Aboriginal fish, (year unknown)

Ceramic mosaic on composition board, 75 x 57cm

Signed LRC, glaze 'Byram Mansell'.

Purchased by the Gallery, 1985






 

0320

McClintock, Herbert

AUSTRALIAN, 1906 - 1985

Balmain houses, (year unknown)

Oil on composition board, 30 x 48cm

Signed LLC, oil 'Herbert McClintock'; signed verso ULC, pen 'Herbert McClintock'. Ins verso ULC, pen " 'Herbert McClintock'/'Balmain houses' "

Gift of the Gallery Committee, 1970

 








0037

McCubbin, Louis

AUSTRALIAN, 1890 - 1952

An interior, 1929

Oil on canvas, 51 x 61cm

Signed and dated LRC, oil "Louis McCubbin '29".

Gift of the artist, 1930

 







0424

Medworth, Frank

AUSTRALIAN, 1892 – 1947

Boats, c.1924

Oil on composition board, 43 x 53cm

Bears artist's name verso pen 'Frank Medworth - Boats'.

Gift of the Gallery Committee, 1977

 

0854

Medworth, Frank

AUSTRALIAN, 1892 – 1947

Untitled (Stoke's Point - Pittwater), 1947

oil on composition board, 30 x 39cm

Gift of Annette M Onslow, 2000

 







0407

Meldrum, James

AUSTRALIAN, b. 1931

Paradox box, 1975

Oil on canvas, 122 x 92cm

Signed verso across top of stretcher m.pen '...James Meldrum...'.  Ins verso across top of stretcher, m.pen 'Paradox box $(crossed out) 1000 dollars James Meldrum 849 Drummond St North Carlton. Melb.'.

Gift of the Gallery Committee, 1976

 







0503

Meldrum, Max

AUSTRALIAN, 1875 - 1955

Landscape, (year unknown)

Oil on canvas on cardboard, 46 x 43cm

Gift of Will Meldrum, 1982

 

0451

Meldrum, Max

AUSTRALIAN, 1875 - 1955

Portrait, (year unknown)

Oil on canvas mounted on composition board, 35 x 28cm

Purchased by the Gallery, 1979

 

0659

Meldrum, Max

AUSTRALIAN, 1875 - 1955

Untitled (woman with an umbrella standing in a landscape), (year unknown)

Oil on canvas mounted on composition board, 46 x 43cm

Gift to the Gallery, 1989

 

 








0381

Mendel, Beryl

UNKNOWN NATIONALITY, Dates Unknown         

The white bottle, (year unknown)

Oil on composition board, 56 x 40cm

Signed LL, 'B Mendel'

Gift of the Auxiliary, 1974

 

 







0946

Milgate, Rodney

AUSTRALIAN, b. 1934

Three figures, 1979

oil on hardboard, 90 x 121cm

Gift of Freehill, Hollingdale & Page, 1990

 

Rodney Milgate is recognised as one of Australia’s most respected Abstractionist. He is also a distinguished poet and playwright and worked for years as a university professor. Rod Milgate was born in 1934 in Kyogle, a New South Wales country town just beneath the Queensland border. Milgate thought that for someone who was obsessed with art that advertising was a good career, though he quickly became disillusioned with commercial art and resigned to undertake a painting course at the National Art School, East Sydney Technical College.

 

At the National Art School he learnt two important artistic principles that informed his art practice. The first principle was to use devices that bring all the elements in a picture together. The other was to break up forms and express the subject in terms of pattern. On learning the possibility of pattern as a vehicle for perceiving and responding to the world he said: ‘Suddenly I felt I was in a completely different world... Form versus pattern, order versus chaos, mind versus body'. He adopted an ‘all-overness’ where visual interest is dispersed evenly throughout the painting. James Gleeson wrote: ’His pictures are nets to trap the eye and draw the mind into the deeps of mystical experience’.

 

Rod Milgate nearly drowned in the sea at the age of five or six. As he sank, he remembers seeing a cap floating on the surface. The image of the cap was distorted by the water and it was seen through a complex web of light and of colour. This dramatic visual episode was profound and Milgate sees it finding its’ way into his painting. The figures in Three Figures, 1974 are shadowy distortions seen through unified, energetic rhythmic lines of high key colour.  

 

Rod Milgate has had homes and studios on the Northern Beaches and Central Coast and he wrote in 1999: ‘During my long association with the coast north of Manly, a million images and sensations eventually crowded my essence, becoming part of it in inevitable conscious and subliminal ways. My children were born here; my joyous dogs from whom I learned and learn so much , lived and romped and died here, all of us ensnare  and nourished by the profound and unique experience of being Peninsula dwellers’. Rod Milgate has won the Blake Prize for Religious Art three times and has held more than forty solo exhibitions. The Gallery owns four paintings by the artist, two of which he donated.

 

0454

Milgate, Rodney

AUSTRALIAN, b. 1934

Artist, 1969

Oil on composition board, 61 x 45cm

Signed LRC, oil 'Milgate'. Ins verso centre 'Title: Artist/(California March '69.)'.

Purchased by the Gallery, 1979

 

0713

Milgate, Rodney

AUSTRALIAN, b. 1934

Dream, 1985

Oil on composition board, 136 x 273cm

Signed LRC, oil. Titled/artists/name/address/in/chalk $70.00

Gift of the artist, 1993

 

0860

Milgate, Rodney

AUSTRALIAN, b. 1934

Explorer's Landscape, 1982

encaustic oil on hardboard, 180 x 243cm

signed LR 'Rodney Milgate'

Gift of the artist, 2000

 









 

 

0328

Miller, Godfrey

AUSTRALIAN, 1893 – 1964

Composition, 1950

Oil on canvas, 41 x 51cm

Signed LRC, pencil 'GM' in monogram.

Gift of the Gallery Committee, 1970

Manly Art Gallery & Museum also owns work on paper by this artist

 

1014

Miller, Godfrey

AUSTRALIAN, 1893 – 1964

Still Life, (year unknown)

oil on board, 35 x 25cm

Gift of Cynthia Jeffery, 2006

Manly Art Gallery & Museum also owns work on paper by this artist

 






0368

Millward, Clem

AUSTRALIAN, b. 1929

Lean scrub, 1972

Oil on composition board, 61 x 89cm

Gift to the Gallery

No further details known

 






0281

Moxham, Miriam

UNKNOWN NATIONALITY, 1885 – 1971

Portrait of A Dattilo-Rubbo, 1909

Oil on canvas on composition board, 74 x 53cm

Signed LRC, oil 'Miriam Huntley'

Gift of the Artist, 1968

 

Miriam Moxham (nee Huntley) was a student of Antonio Dattilo Rubbo from (Date) when she painted this evocative portrait of the artist and teacher in 1909.

Moxham continued her art career into the late 1940s, having her first solo exhibition with Grosvenor Galleries in 1937, with the Sydney Morning Herald publishing a mixed review of the still life and landscapes in the solo exhibition launched by WH Ifould [1].  Ifould was the principal librarian (State Librarian) of the State Library of NSW from 1912-1942 [2].

In 1936 she published a series of illustrated poems that is in the National Library Collection. Moxham, along with fellow student Evelyn Chapman painted portraits of their much loved teacher, Dattilo-Rubbo, documenting the flair in which the Cavaliere presented himself, with manicured moustache, resplendent in scarlet cravat and as his many self portrait attest, cigarette eternally held between his fingers.

 

Cavaliere Antonio Dattilo-Rubbo was born in Naples, Italy in 1870, trained in fine arts and drawing in Rome and following his arrival in Sydney in 1898, Rubbo established an atelier in Bligh Street in Sydney and the Bohemian hub of Rowe street Sydney. Passionate about the discipline of drawing technique and draftsmanship as a pinnacle of art making, Rubbo endeared himself to his students through his discipline and attention to detail. Former student the late Tom Bass reminisced in 2008 about his teacher’s attention to detail.  “Some of (Rubbo’s expressions to his students) were ‘Are you perspiring yet?’ or he would come into the studio, fling open the curtains with a flamboyant gesture and remark ‘I smell the maps’, meaning that the students were merely drawing outlines rather than drawing as he was teaching it.” [3].

Rubbo was highly revered by his students and

...Dattilo-Rubbo’s warmth of spirit, flexibility of mind, backed by sound knowledge and discipline of draughtsmanship and the painter’s craft, made his enthusiasm infectious, the art lesson an exciting challenge. [4].

 

Rubbo’s legacy to Australian Art History was the passionate drive for the establishment and long term continuation of the Manly Art gallery & Museum and his high profile list of alumni ranging from Grace Cossington Smith, Roland Wakelin, Evelyn Chapman, Elsa Russell, Margo and Gerard Lewers, Frank Hinder and Roy De Maistre read as a ‘who’s who’ of Australian Art history. With irony his profile as an artist in his own right took a secondary seat to the careers of many of his students.

 

[1] The Sydney Morning Herald, Wednesday 23 June 1937, p 6, located at National Library of Australia, http://nla.gov.au.news-article17387885, located at http://trove.nla.gov.au/ndp/del/printArticlePdf/17387885/3?print http://www.lib.monash.edu.au/exhibitions/women-writers/virtual/photos/photo4.html

[2] State Library of New South Wales, located at http://acms.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=874708

[3] Antonio Dattilo-Rubbo website, Manly Art Gallery & Museum, located at www.antoniodattilorubbo.com.au, retrieved 8/7/10

[4] Jean Campbell, Cav. Antonio Dattilo Rubbo- Painter and teacher and some prominent pupils, Manly Art Gallery, December 5- January 18 1981, exhibition catalogue, p9

 

 

 

 

 

 

0864

Murch, Arthur James

AUSTRALIAN, 1902 – 1989

Portrait of G.K. Townshend, 1951

Oil on canvas, 75 x 63cm

Signed LL, oil 'Murch'.

Gift of Ria Murch, 2001

Manly Art Gallery & Museum also owns work on paper by this artist

 

The Gallery holds seven works by Arthur Murch in its collection, five portraits and two landscapes. In 2001, the artist’s widow, Ria Murch, generously donated this Portrait of G.K. Townshend and a portrait of John Santry, following the Gallery’s groundbreaking exhibition on the history of the National Art School called The Studio Tradition. G.K.Townshend, originally from New Zealand and once a student of Antonio Dattilo-Rubbo at the Royal Art Society, was a teacher of watercolour and faithful supporter of the Australian Watercolour Institute who continued for fifty years to encourage the development of watercolour painting in Australia.

 

Murch began his working life as an apprentice engineer, but winning the coveted NSW Travelling Art Scholarship in 1922 at once removed him into the exciting, insecure life of full time artist. It was to be a life he pursued with passion to the end. ‘Murch was an expressive man… and an artist who was more interested in ‘doing things’ than acquiring reputation or material gain”. Through his sculpture and paintings, Arthur Murch explored classical mythology, the figure and the landscape.

 

Murch's first love was sculpture and his intense knowledge of the human figure informed his portrait painting. He trained with Raynor Hoff at the East Sydney Technical College and was awarded. During his two years study abroad he absorbed lasting influences: the colour of the Italian Quattrocento, the Impressionists and Post Impressionists, and the tonal structure of the Cubists. On returning to Sydney, he became George Lambert's sculpture assistant and worked on the Unknown Soldier in St Mary's Cathedral and the Henry Lawson Memorial in the Domain.

 

In 1932, Murch travelled to Central Australia with a University of Sydney research party. This was followed by exhibitions in Melbourne and Sydney which were reviewed favourably by Arthur Streeton and Blamire Young who said his desert landscapes were 'Gauguin-like in the burning intensity of the sand' while his portraits showed the humanity and dignity of his Aboriginal subjects.

 

At the outbreak of war in 1939, Arthur Murch was appointed an Official War Artist and sent to Darwin. His forty-two war record works are in the War Memorial, Canberra. After the war, Murch and his young wife Ria moved to Sydney's northern beaches and made their home at Avalon.

 

In 1949 he was awarded the Archibald Prize for his portrait of fellow artist Bonar Dunlop, and his work was sought by collectors such as Howard Hinton and S. H. Ervin. Murch lived to see his paintings become part of the national, state and regional collections. Arthur Murch's work is always immediately recognisable, which is why his position in Australian art is assured.


0170

Murch, Arthur James

AUSTRALIAN, 1902 – 1989

Childhood pleasures, 1954

Oil on canvas mounted on composition board, 66 x 84cm

Signed and dated LRC, conte 'A J Murch/1934'.

Gift of Dr G Montcrieff Barron, 1938

Manly Art Gallery & Museum also owns work on paper by this artist

 

 

0299

Murch, Arthur James

AUSTRALIAN, 1902 – 1989

Woman of Mt Liebig, (year unknown)

Oil on composition board, 91 x 61cm

Signed lower centre, oil 'Murch'. Ins URC, pencil 'woman of Mt Leibig/C9/Arthur J Murch/109 Palmgrove Rd/Avalon'.

Gift of the Gallery Committee, 1969

Manly Art Gallery & Museum also owns work on paper by this artist

 

0501

Murch, Arthur James

AUSTRALIAN, 1902 – 1989

Rubina Namatjira, 1963

Oil on composition board, 91 x 61cm

Signed LL, oil 'Murch'.

Purchased by the Gallery, 1982

Manly Art Gallery & Museum also owns work on paper by this artist

 

 

0524

Murch, Arthur James

AUSTRALIAN, 1902 – 1989

Yellow light, 1982

Oil on composition board, 44 x 60cm

Signed LL, oil 'Murch'.

Purchased by the Gallery, 1983

Manly Art Gallery & Museum also owns work on paper by this artist

 

0865

Murch, Arthur James

AUSTRALIAN, 1902 – 1989

Portrait of John Santry, 1954

Oil on composition board, 88 x 63cm

Signed LL, oil 'Murch'.

Gift of Ria Murch, 2001

Manly Art Gallery & Museum also owns work on paper by this artist

 

 

 




 

 

0645

Needham, George

UNKNOWN NATIONALITY, Dates Unknown         

Country scrum, (year unknown)

Oil on composition board, 86 x 122cm

Signed LLC, oil 'George Needham'; verso, oil 'George Needham' (twice). Ins verso, oil " 'Country scrum'/George Needham/1 Loorana St./East Roseville 2068/N.S.W.'.

No further details known

 





0330

Nixon, Trevor

AUSTRALIAN, 1914 - ?

Collins Flat, Manly, 1970

Oil on canvas on composition board, 50 x 60cm

Signed and dated LR 'Nixon-/70'; signed verso U centre, pen 'Trevor Nixon...'. Ins verso U centre, pen "Trevor Nixon/94 Clontarf St./Seaforth. N.S.W./phone 944014/'Collins Flat. (Manly)/Section A' oil/$100".

Purchased by the Gallery, 1970

 




0034

Nobili, Luigi

ITALIAN, 1889 - ?

Sanctuary of Oropa, Northern Italy, c.1920

Oil on canvas mounted on composition board, 36 x 54cm

Titled verso URC, pencil 'Sanctuary of Orapa/Italy/L Nobili'.

Gift to the Gallery, 1930

 




0528

O'Brien, Justin M

AUSTRALIAN, 1917 - 1996

Interior and still life, Skyros, 1966

Oil on canvas, 80 x 54cm

Signed TRC, oil "O'Brien". Ins verso, pencil "7391 Mr Justin O'Brien 3 RWS $21.00 total".

Gift of Sir Keith and Lady Jones, 1983

 




0029

Olsson, Julius

UNKNOWN NATIONALITY, Dates Unknown         

The Reef, (year unknown)

Oil on canvas, 123 x 184cm

Signed BLC, oil 'Julius Olsson/St Ives'. Ins BL, chalk 'Olsson'.

Gift of the Gallery Committee, 1928

 





0300

Orban, Desiderius

AUSTRALIAN, 1884 – 1986

Gothic landscape, (year unknown)

Oil on three-layer Plywood, 51 x 61cm

Signed BLC, oil 'Orban'

Gift of the Gallery Committee, 1969

Manly Art Gallery & Museum also owns work on paper by this artist

 




0455

Palmer, Janet

UNKNOWN NATIONALITY, Dates Unknown

Sydney Harbour, 1979

Synthetic polymer paint on composition board, 120 x 89cm

Signed and dated LR, 'Palmer, 79'.

Purchased by the Gallery, 1979

 

 




0525

Palmer, Robyne

UNKNOWN NATIONALITY, Dates Unknown

Forest Walk, (year unknown)

Oil on canvas, 106 x 121cm

Signed LRC, oil 'Palmer'.

Purchased by the Gallery, 1983

 

 





0356

Penglase, Marjory

AUSTRALIAN, 1922 - 1989

Last of the jungle, 1971

 

Oil on canvas, 115 x 76cm

Signed and dated 'Penglase 71'.

Gift of the Gallery Committee, 1972

Manly Art Gallery & Museum also owns work on paper by this artist

 

 

 

 

0327

Perry, Adelaide

AUSTRALIAN, 1891 – 1973

Park gums, 1936

Oil on composition board, 36 x 25cm

Signed and dated LLC, oil 'A E Perry/1936'.

Gift of the Gallery Committee, 1970

 

 

0523

Perry, Adelaide

AUSTRALIAN, 1891 – 1973

South Coast, (year unknown)

Oil on canvas mounted on composition board, 45 x 55cm

Signed LR 'A E Perry'. ?? covered by frame.

Purchased by the Gallery, 1983

 

 





0589

Petty, Bruce

AUSTRALIAN, b. 1929

Manly 2000, 1988

Felt tip on canvas, 150 x 180cm

Signed and dated LRC, felt tip pen on canvas "Petty '88".

Acquired by the Gallery, 1989. No further details known

 






0846

Petyarre,  Gloria Tamerre

AUSTRALIAN, b. c.1945

Leaves, 1999

acrylic on canvas, 90 x 76cm

Purchased by the Gallery Society, 1999

 

 





0024

Pickersgill, Henry

UNITED KINGDOM, 1782 – 1872

Hester, (year unknown)

Oil on canvas, 91 x 71cm

Gift of H.E. Pickersgill, 1928

 

 

 



 

0766

Piguenit, William Charles

AUSTRALIAN, 1836 - 1914

Long Wharf, Lane Cove River, c. 1890

Oil  on linen, 44 x 75cm

Signed LR, oil 'W.C. Piguenit'

Gift of Nell B Winn, 1995

 


William Charles Piguenit was a 19th century romantic realist painter who was inspired by the power and beauty of nature. He was the last major figure in the line of 19th century Australian painters in the romantic tradition which included artists such as Conrad Martens and Eugene von Guerard. Born in Hobart in 1836, and often regarded as the first Australian-born professional painter, Pigguenit spent a major part of his painting career in Sydney where ge found success and fame.Piguent painted many views of peaceful rivers, open pastures and highlands winning acclaim for his grand, yet intimate visions of nature.

 

In 1850, from the age of fourteen Piguenit worked as a draftsman for the Tasmanian Colonial Survey Department where he worked for twenty three years. From 1874 to the end of the decade he regularly exhibited his paintings winning a number of merit awards and the future Art Gallery of New South Wales acquired one of his works Mount Olympus, Lake St Clair, Tasmania – the Source of the Derwent, 1875.  In 1880 Piguenit moved to Sydney. In 1900 he won the Wynne Prize with A Thunderstorm on the Darling.

 

Piguenit never married and was noted as being a reticent and intensely private person. He was a regular exhibitor at the Art Society of NSW (later the Royal Art Society) from 1880, but resigned because of the advent of impressionist to which he was strongly antagonistic. An enthusiastic explorer he travelled widely in Tasmania, New South Wales and overseas to London and Europe.

 

Lake Menzola, Gulf of Suez is evidence of the artist’s celebration of the great natural beauty of his world. This painting was donated by P.S.Garling. The Gallery also owns another work, Long Wharf, Lane Cove River, c.1890 which was bequeathed to the collection by Nell B. Winn in 1995.

 

0149

Piguenit, William Charles

AUSTRALIAN, 1836 - 1914

Lake Menzola, Gulf of Suez, (year unknown)

Oil on canvas mounted, 61 x 91cm

Signed LLC, oil 'W C Piguenit'.

Gift of P. S. Garling, 1947

 

 





 

0459

Plate, Carl

AUSTRALIAN, 1900 – 1977

Re-form, 1961

Synthetic polymer paint on composition board, 90 x 60cm

Signed and dated LRLC, SPP "Carl Plate '61". Signed verso UR, chalk 'Carl Plate...' (sideways). Ins verso UL, crayon 'Re-form'; verso UR 'Carl Plate/41 Rowe St./Sydney/Australia' (sideways)

Purchased by the Gallery, 1979

 

 





0869

Powditch, Peter

AUSTRALIAN, b. 1942

Cover 20 inch, 1975

acrylic on composition board, 125 x 61cm

Signed reverse "Powditch".

Gift of Penny Coleing, 1998

 





0129

Power, Harold

AUSTRALIAN, 1878 - 1951

End of the day, 1929

Oil on canvas, 69 x 92cm

Signed LRC, oil 'H S Power'. Dated LLC, oil '/29'.

Gift of Dattilo-Rubbo, 1940

 

 





 

0005

Preston, Margaret

AUSTRALIAN, 1875 – 1963

Fish, 1916

Oil on composition board, 46 x 56cm

Signed and dated LRC over MacPherson pencil 'M R Preston 16'. Ins UL pen and ink 'painted 2 Albert Studios Battersea 1916/EX N E Art Club 1916'.

Gift of the Artist, 1924

 

This early painting by Preston is a stark contrast to the more recognisable linocuts and hand painted woodcuts. Margaret Preston often visited Dattilo Rubbo’s atelier in the city, teaching and lecturing to students in their lunch breaks. Rubbo student Grace Cossington Smith often reflected on the impression and impact Preston’s strong female artistic influence had on her own art practice through recognition of the importance and vitality of colour, composition and discipline in painting. Cossington Smith asserted that,

I remember so well Margaret Preston coming in and she gave us a very interesting talk on her methods… she had a colour chart with her and she showed us how at that time she decided the colours of her paintings by this chart. She had a cardboard wheel as far as I can remember and she turned it round and it had open spaces and whatever the colour was in these open spaces decided her on the colour scheme for her painting. [1]

 

The still life is an established painting genre and one that Preston, alongside fellow artist Margaret Olley, has turned into an accomplished subject matter in their paintings.  Preston's brushstrokes are modulated, decisive and confident. It is evident through this painting that Preston knows her medium well and is deft with composing and delivering a still life that transforms the domestic into the relatively sublime.

 

The luminosity of the fish on the plate, contrasted with the patternation of the table cloth- the striking contrast of the metallic greys with elements of cerise and scarlet red reflect an artist that saw colour as vital means of communicating through her painting. Composition and geometry were significant elements of a painting that Preston through developed an asymmetrical construction of her subject. 

“Preston... introduced the concept of balance and unity achieved through a radical asymmetry. The Japanese stepped construction, the zig zag configuration connecting objects, rectangles within rectangles, banded pattern forms and composing along diagonals became Preston’s consistent means of creating compositional rhythms from this time.” [2].

 

Preston’s eternal interest in Japanese art forms lent themselves to her woodcut and linocut printing processes and compositions. Her detailed and delicately finessed paintings reflect a modernist approach to the realm of the feminine and domestic such as the still life and transformed them into unconventional constructions of the mundane and the everyday.

 

[1] Grace Cossington Smith (1892 – 1984), in an interview with Hazel de Berg,1965 on her Teacher Dattilo-Rubbo from Modernism & Australia. Documents on Art, Design and Architecture 1917 – 1967 by Ann Stephen, Andrew McNamara, Philip Goad, The Miegunyah Press, Melbourne, 2006, p. 758

[2] Deborah Edwards, Rose Peel & Denise Mimocchi, Margaret Preston, Art Gallery of NSW, Sydney,2005, p47.

 

0321

Preston, Margaret

AUSTRALIAN, 1875 -  1963

Boabab  nuts, 1953

Gouache on composition board, 41 x 33cm

Signed and dated LRC, pen and ink 'M Preston 53'. Signed LLC gouache 'M.P.'.

Gift of the Gallery Committee, 1970

 

 






 

1033

Rasdall, Meredith

AUSTRALIAN, Birth Date Unknown

Vessels, 2006

acrylic & oil glaze on canvas, set of 9 blocks, 30 x 30cm

name and number of each block out of the total of nine written in black on the back of each piece

Purchased by the Gallery, 2007

 

 




0303

Read, Arthur Evan

AUSTRALIAN, 1911 – 1978

Flying Fish Point, Innisfall, (year unknown)

oil on board, 35 x 44cm

Gift of the Gallery Committee, 1969

 

 



0006

Rees, Lloyd

AUSTRALIAN, 1895 - 1988

An old barn, Parramatta, 1924

oil on canvas mounted on composition board , 33 x 46cm

Signed LR scratched 'Rees'.

Gift of the Artist, 1924

Manly Art Gallery & Museum also owns work on paper by this artist

 

0279

Rees, Lloyd

AUSTRALIAN, 1895 – 1988

Grecian memories, 1967

Oil on canvas mounted on masonite, 56 x 46cm

Signed and dated LL, oil  "L R '67".

Gift of the Gallery Committee, 1968

 





0463

Rehfisch, Alison

AUSTRALIAN, 1900 – 1975

Morning in Cagnes c.1935

Oil on hessian on board, 49 x 39cm

Signed LRC, oil 'Rehfisch'.

Purchased by the Gallery, 1979

 





0145

Reni, Guido

UNKNOWN, 1575 – 1642

Judith with the head of Holofernes, (year unknown)

Oil on canvas , 109 x 91cm

Gift of P. S. Garling, 1947

 

 

0153

Reni, Guido

UNKNOWN, 1575 – 1642

Procris and Cephalus, (year unknown)

Oil on canvas, 122 x 147cm

Gift of P. S. Garling, 1947

 

 







A0826.-Riley,-Jo.-Inland-celebration

0826

Riley, Jo

AUSTRALIAN, (dates unknown)

Inland celebration, c.1990

oil paint on canvas on hardboard, 25 x 30cm

signed ll 'J.R.'

Gift to the Gallery, no further details known










 





0125

Roberts, Tom

AUSTRALIAN, 1856 - 1931

Christmas flowers and Christmas Belles (The flower sellers), c.1893 - 96

Oil on canvas, 52 x 36cm

Signed LLC, oil 'Tom Roberts-'

Gift of Colonel A Spain, 1940

Manly Art Gallery & Museum also owns work on paper by this artist

 

Tom Roberts is today one of Australia’s best known and most closely studied artists; yet in the last decades of his life he was comparatively neglected. Consequently he suffered from depression thinking he had failed as an artist.

 

Roberts came to Australia in 1869 at the age of 13 with his widowed mother and settled in Melbourne.  He first gained his artistic training in Australia working part time as a photographic assistant while studying at the Collingwood School of Design and the National Gallery. At the age of 25 he sailed to England where he spent four years at the Royal Academy School, London. During his five years overseas he also travelled to Europe and visited the galleries in Spain, France and Venice. Throughout his artistic career he returned to London keeping up with overseas artistic developments.  He was exposed to and knowledgeable about academic figure-painting, open air tonal painting, Realism, Naturalism and Whistler’s artworks and French Impressionism.  

Inspired by his artistic knowledge and skills gained from his European travels, Tom Roberts was determined to capture the characters, events and an atmosphere that was identifiably Australian. Roberts painted the great themes of Australian life: immigration, shearing, stock riding, logging, threshing, bush ranging, outdoor recreation and bustling city life. He travelled the Australian continent more extensively than any other major Australian artist of his time.


Tom Roberts
Christmas flowers and Christmas Belles (The flower sellers) displays his heartfelt concern for Australian subjects by evocatively depicting the vitality of an Australian city main thoroughfare. By sharply contrasting the sun bleached ochre tonality of the street with the dark figures of the flower sellers he successfully portrays Australia’s summer mid afternoon sun.


It was revealed with the aid of blue light that the artist had removed a standing woman and running child in the area left of centre of the painting. The removed figures can still be seen in the lithograph issued in the Sydney Mail in 1899 which the gallery has a copy. You may still be able to see the ghostly remnants of the figures in the painting.  Ron Radford, Director of the National Gallery of Australia believes this painting is in his top 20.


This work has been exhibited in many key exhibitions including: Tom Roberts Retrospective (AGSA 1997-98) 1900: Art at the Crossroads 2001 (Royal Academy - London 2000, Guggenheim Museum - New York 2001), Sydney at Federation (Museum of Sydney 2000-01).


Sources:

McQueen, Humphrey, Tom Roberts, Pan Macmillan Australia Pty Limited, Sydney, Australia, 1996

Radford, Ron, Tom Roberts, Art Gallery of South Australia, Adelaide, Australia, 1996.

 

 

0422

Roberts, Tom

AUSTRALIAN, 1856 - 1931

Manly, 1888, 1888

Oil on wood panel, 21 x 34cm

Dated LLC, scratched 'Manly 22.3.88'. Incomplete painting verso

Gift of the Gallery Committee, 1977

Manly Art Gallery & Museum also owns work on paper by this artist

 

 

 



 

0357

Russell, Elsa

AUSTRALIAN, 1909 – 1997

Bush in Springtime, 1971

Oil on five-layer plywood, 68 x 88cm

Signed LLC, oil 'E Russel'

Gift of the Gallery Committee, 1972

Manly Art Gallery & Museum also owns work on paper by this artist









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