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Lilla Reidy Sold at Auction Prices

b. 1858 - d. 1933

Lilla Reidy, sketcher and painter, exhibited regularly with the Victorian Artists' Society from 1895 to 1910. During the 1890s she worked at Charterisville with Emanuel Phillips Fox and Tudor St George Tucker. She was influenced by the Heidelberg School painters.

sketcher, seemed to be the artist, (mis)catalogued as 'Lila Raidy 1880’, who was said to have signed a pencil, charcoal and ink panoramic view of Port Arthur, Tasmania, when the drawing was auctioned by Gowan’s of Hobart on 4 November 2000 (lot 209). Advertising in the Hobart Mercury of 24 January 1880, 'Miss Reidy’ offered to teach painting, wax flowers and fancy work in its various branches. However, when the drawing was re-offered by Masterpiece Gallery in September 2002 (cat. 8), Heather Curnow had identified it as one of a series of amateur drawings of the settlement, all done on the same paper c.1845 before the reclamation of the harbour (c.1849).

Slightly different views are in the Queen Victoria Museum and Art Gallery, Launceston, Tas., and Mitchell Library, State Library of New South Wales, Sydney, NSW; a third, now lost, was photographed by Stephen Spurling c.1920 – photograph in National Library of Australia, Canberra, ACT – while a later, damaged version dated 1849 is in Tasmanian Museum and Art Gallery, Hobart, Tas. Lilla Reidy signed an unusual and competent Heidelberg School oil on canvas on board landscape (45 × 70 cm) with an Aboriginal woman in a long blanket cloak standing in front of a bark hut beside a giant hollow tree in the bush. The painting, acquired by James Fairfax from Thirty Victoria Street, was offered by Sotheby’s in the ...

Flourished - fl. c.1880 - c.1910


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    • Elizabeth Mary Ann (Lilla) Reidy, (Australia, 1858-1933), "Port Arthur Penal Settlement". 1880, Pencil & Wash on Paper, 24.50 x 39.50 cm. (9.65 x 15.55 in.), Frame: 63 x 73 cm. (24.80 x 28.74 in.)
      Sep. 11, 2022

      Elizabeth Mary Ann (Lilla) Reidy, (Australia, 1858-1933), "Port Arthur Penal Settlement". 1880, Pencil & Wash on Paper, 24.50 x 39.50 cm. (9.65 x 15.55 in.), Frame: 63 x 73 cm. (24.80 x 28.74 in.)

      Est: -

      Elizabeth Mary Ann (Lilla) Reidy (Australia,, 1858-1933) "Port Arthur Penal Settlement". 1880 Pencil & Wash on Paper signed lower left & signed & dated lower left centre (in wheelbarrow). Masterpiece Fine Art Gallery labels verso

      Bargain Hunt Auctions
    • LILLA REIDY (1858 - 1933) - Sleeping Dogs, c1900 oil on canvas 26 x 37 cm (frame: 31 x 41 x 2 cm)
      Aug. 18, 2022

      LILLA REIDY (1858 - 1933) - Sleeping Dogs, c1900 oil on canvas 26 x 37 cm (frame: 31 x 41 x 2 cm)

      Est: $500 - $700

      LILLA REIDY (1858 - 1933) Sleeping Dogs, c1900 oil on canvas 26 x 37 cm (frame: 31 x 41 x 2 cm) signed and dated lower right

      Lawsons
    • REIDY Lilla (1858-1933), Autumn Leaves, Fitzroy Gardens, Melbourne, Oil on Canvas, 44x55cm
      Jul. 21, 2019

      REIDY Lilla (1858-1933), Autumn Leaves, Fitzroy Gardens, Melbourne, Oil on Canvas, 44x55cm

      Est: $700 - $1,200

      REIDY, Lilla (1858-1933) Autumn Leaves, Fitzroy Gardens, Melbourne The statue depicted is thought to be one of 60 that were removed in the 1930s. Provenance: Angeloro family collection. Oil on Canvas 44x55cm

      Davidson Auctions
    • LILLA REIDY, IN MY GARDEN, OIL ON BOARD, 22 X 16CM
      Feb. 07, 2019

      LILLA REIDY, IN MY GARDEN, OIL ON BOARD, 22 X 16CM

      Est: $1,000 - $1,500

      LILLA REIDY, IN MY GARDEN, OIL ON BOARD, 22 X 16CM

      Leonard Joel
    • LILLA REIDY, (1858 – 1933), OLD HOME – ST NINIAN’S, BRIGHTON, c.1895, oil on canvas
      Nov. 28, 2018

      LILLA REIDY, (1858 – 1933), OLD HOME – ST NINIAN’S, BRIGHTON, c.1895, oil on canvas

      Est: $8,000 - $12,000

      LILLA REIDY, (1858 – 1933), OLD HOME – ST NINIAN’S, BRIGHTON, c.1895, oil on canvas SIGNED: signed lower left: Lilla Reidy. bears inscription on stretcher bar verso: Old home (at Bay Street - Brighton) of Mr Ward Cole, afterwards purchased / by the late Thomas Bent. DIMENSIONS: 35.5 x 51.0 cm PROVENANCE: Camberwell Auctions, Melbourne, 25 January 1973 Private collection, Melbourne EXHIBITED: Art and Nature: Artists’ Flowers, Ballarat Fine Art Gallery, Victoria, 4 March – 30 April 1989 Backyards and Boundaries 1840-1930, Mornington Peninsula Regional Gallery, Victoria, 27 September – 8 November 1998, cat. 56 (illus. in exhibition catalogue) LITERATURE: Topliss, H., The Artists’ Camps: ‘Plein Air’ Painting in Australia, Hedley Australia Publications, Melbourne, 1992, pl. 8, pp . 11 (illus.), 185 ESSAY: Lilla Reidy was one of E. Phillips Fox and Tudor St George Tucker's early pupils after Fox and Tucker had established their private art school known as the Melbourne School of Art in the late summer of 1893. Reidy later became Fox's assistant. She exhibited at the Victorian Artists' Society from 1895 until 1910 and was based at “Bertrame” Punt Road, Prahran and had a studio at the Cromwell Buildings in Bourke Street where Fox and Tucker had their school. As Ruth Zubans notes in her major publication on Fox ‘... in 1894 Tucker and Fox established at Charterisville the first summer school of painting in Australia, a major innovation in Melbourne's teaching practice and offered a sharp contrast to the curriculum offered by the Gallery School. At first, students painted there at weekends, making the stone farmhouse “and the lovely old garden” their base, but from 1897 a camp was held every autumn and they “spent two of the pleasantest months of the year in outdoor painting”’.1 Other art students at this time included Marion Barrett, Violet Teague, May Vale, Ina Gregory, Christina Asquith Baker, Bertha E. Merfield, Mary Meyer, Edward C. Officer, Ambrose Patterson and Albert Enes. Reidy painted society portraits, still life, interiors and landscapes based in Melbourne, Sydney and Hobart. Phillips Fox painted a souvenir portrait of Lilla Reidy (c.1895) which is featured on the slipcase of Helen Topliss's The Artists’ Camps ‘Plein Air’ Painting in Australia. St Ninian’s (10 Miller Street) was one of Brighton's earliest buildings, built around 1841 and best known as the home of George Ward Cole (1793 – 1879), merchant shipping agent and owner of Cole's Wharf. Situated on the seafront on the right-hand side of Bay Street, St Ninian’s was known for its Singapore Teak wing. During Cole's time, it was a fashionable rendezvous for many important identities who shaped Melbourne's history including Victoria's first royal visitor, Prince Alfred, Duke of Edinburgh, who was a guest here in 1867. The property was demolished in 1974. 1. Zubans, R., E. Phillips Fox: His Life and Art, The Miegunyah Press, Melbourne University Press, Melbourne, 1995, p. 85

      Deutscher and Hackett
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