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Lot 16: GEORGE LAMBERT, ARTIST AND HIS BATMAN, LIGHT HORSE CALVARY, JERUSALEM HEIGHTS, 1920

Est: $100,000 AUD - $150,000 AUDPassed
Deutscher and HackettMelbourne, AustraliaDecember 08, 2021

Item Overview

Description


GEORGE LAMBERT
(1873 - 1930)
ARTIST AND HIS BATMAN, LIGHT HORSE CALVARY, JERUSALEM HEIGHTS, 1920
oil on canvas on plywood
31.5 x 42.0 cm
signed with initials lower right: G. W. L

PROVENANCE
Private collection
Sir Edward Hayward, Adelaide
Old Clarendon Gallery, Adelaide (label attached verso)
Private collection, Adelaide, acquired from the above in November 1982
Thence by descent
Private collection, Adelaide

EXHIBITED
Royal Visit Loan Exhibition of Australian Paintings
, National Gallery of South Australia, Adelaide,1954 (label attached verso)
Exhibition of Past Australian Painters Lent From Private South Australian Collections,
Adelaide Festival of Arts, John Martin & Co. Limited, Adelaide, 8 – 29 March 1974, cat. 66 (label attached verso, as ‘Light Horse Cavalry, Jerusalem Height’)
George Washington Lambert,
S.H Ervin Museum and Art Gallery, The National Trust of Australia, Sydney, 22 August – 8 October 1978, cat. 41 (as ‘Australian Light Horse on the hills above Damascus’)
Old Clarendon Gallery, Adelaide, 1982 (as ‘Portrait with Horses’)

LITERATURE
Gray, A.,  George Lambert 1873–1930: Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth, Sotheby's Australia and Australian War Memorial, Canberra, 1996, cat. P356, p. 95 (as ‘The artist and his batman’)

RELATED WORK
The official artist (Self Portrait),
1921, oil on canvas, 91.7 x 71.5 cm, in the collection of the National Gallery of Australia, Canberra

ESSAY
When the First World War erupted, George Washington Lambert was aged forty and resident in Britain. A society painter of some renown, his equestrian portrait of Edward VII (1910) was considered by many as the best ever done of the monarch. Now considered an equal in London’s art world, Lambert had actually spent his formative years working on a sheep property at Warren in far-western New South Wales and remained in his heart a ‘country man’ with a great love of horses and abiding respect for people who worked the land. In late 1917, he was commissioned to be Australia’s sole war artist in Palestine, and through this ‘the war was to release the man of action that slumbered in Lambert. Always a keen observer, he was by this a splendidly trained draughtsman capable of painting equally well men, horses and landscape, and the incidents of war – the ideal man for Palestine.’1 Artist and his batman, Light Horse Cavalry, Jerusalem Heights, 1920, is a self-portrait as personal souvenir, one redolent of his experience embedded with the troops.

Due to his age, Lambert was unable to enlist for the Australian Imperial Force, so he joined a voluntary unit called the United Arts Rifles, where he trained recruits in horsemanship. Following the appointment as war artist, he travelled to Palestine where the Light Horse Brigade was engaged in fighting the Turkish forces. On Christmas Day, ‘complete with a Light Horseman’s plumed hat, spurs, leggings and honorary commission as Lieutenant’, Lambert sailed for the Palestine front and disembarked in Alexandria three weeks later.2 The artist was dazzled by the blazing light which played over the jagged landscape, and soon recognised in the ‘“sweating, sun-bronzed men and beautiful horses” of the Light Horse, the pioneer bushmen he had observed working the wool trade (on) his uncle’s property at Warren.’3 Many of Lambert’s new companions were veterans of the Gallipoli campaign, and with their guidance and vivid stories, he moved from Egypt through to Syria and Palestine, producing forty-nine oil sketches and nearly a hundred drawings, as well as several sketchbooks filled with small pencil studies by the end of the three-month commission.

In early 1919, Lambert was the only artist invited to join the historian Charles. E. W. Bean on the first official mission to visit Gallipoli since the ANZAC forces had evacuated. He again produced many images but also revealed his strength of character when he and others of the party were ‘forced to bury more than 300 bodies in a strip of land the size of three tennis courts [at The Nek], which prompted Lambert to write to his wife that “gruesome is scattered all over the battlefield... evidence grins coldly at us non-combatants and I feel thankful that I have been trained to stop my emotions at the border line.’’4 He then re-visited Palestine and Syria, painting more preparatory studies as he again stayed with the Light Horse whilst they demobilised.

On return to London, Lambert set to work creating large paintings based on his sketches, armed with new understanding of the true horrors of war. Numerous of these are now star attractions at the Australian War Memorial, such as The charge of the Australian Light Horse at Beersheba 1917, 1920; ANZAC, the landing 1915, 1920-22; and The charge of the 3rd Light Horse Brigade at the Nek, 7 August 1915, 1924. However, it is in the smaller, more intimate works painted at the same time that Lambert truly expressed himself, celebrating the camaraderie experienced amongst his fellow horsemen. Artist and his batman, Light Horse Cavalry, Jerusalem Heights is one of these and its sense of immediacy is striking. Jerusalem is set on a plateau 785 metres above sea level, with views overlooking the Dead Sea, the biblical Mountains of Moab, and coastal plains that march west toward the Mediterranean. It was territory Lambert knew intimately, having ‘camped for a time during the fierce heat of the summer of 1918 in Chauvel’s Desert Mounted Corps camp at Talaat ed Dum [just north of Jerusalem], in the hideous country of the Wilderness, and from there, and from the Light Horse camps down in the stifling Jordon Valley, he would walk out day after day for hours at his labour of love.’5 In this self-portrait, painted in the London studio, Lambert’s delight is obvious, seated with his portable paint box in this harsh land amongst the horses and men he so admired, his smiling face and favourite pipe accentuated by the curved loop of the white bridle. His batman, who has not been identified, wears the Light Horse emblem of an emu feather in his hat and was an essential companion in Palestine, being a soldier assigned to act as a servant to commissioned officers and who also looked after their horse (known as the bat-horse).6

Lambert returned to Australia in 1921 and was to enjoy another decade of success in Australia and Britain, but his experiences in the Middle East remained some of his happiest memories. He actively re-engaged with the Australian art community and was important in his advocacy and support for a number of younger artists. Horses, however, remained his greatest love and it was after a ride in May, 1930, as he leant over to fix a piece of timber to his mount’s drinking trough, that this grand cavalier died of a heart attack. Arthur Streeton was devastated to lose his old friend, writing to Basil Burdett that ‘it’s difficult to get the horrible news out of one’s head – it’s quite useless to fret about him. But everything here reminds me of him ... poor old Julian Ashton will feel it, he was always so proud of G. W. L.’7

1. Lindsay, L., ‘George Lambert – our first Australian master’, Art in Australia, 3rd series, no.36, February 1931, p.15
2. Roberts, Major M. L. H., ‘George Washington Lambert’, The Australian Light Horse Association, www.lighthorse.org.au/george-washington-lambert Viewed 12 October 2021
3. Yip, A., ‘George Lambert at Gallipoli. ‘A wonderful setting for the tragedy’: an artist captures the Anzac horror’, Look magazine, Art Gallery of New South Wales, 2013, pp.10-11
4. Ibid.
5. Gullett, H.S., ‘Lambert and the Light Horse’, in: Art in Australia, ‘Lambert Memorial Number’, 3rd series, no.33, August-September 1930
6. Charles Bean recorded that Lambert was assigned a Light Horseman named (William?) Spruce from Port Stephens, NSW, to handle the mule the artist used to carry his supplies in Gallipoli, but there is no record that Spruce was also with Lambert in Palestine. The author thanks Hollie Gill at the Australian War Memorial for this information.
7. Arthur Streeton, letter to Basil Burdett, 31 May 1930. Transcribed in: Galbally, A., and Gray, A., Letters from Smike: the letters of Arthur Streeton 1890-1943, Oxford University Press, Melbourne, 1989, p.196. Between 1895 and 1899, Lambert studied with Julian Ashton who always remained proud of student’s achievements.

ANDREW GAYNOR

Payment & Shipping

Payment

Accepted forms of payment: American Express, COD (cash on delivery), MasterCard, Personal Check, Visa, Wire Transfer

Shipping

Deutscher and Hackett's Registrar is happy to assist with advice about preferred carriers, if required. Email: ep@deutscherandhackett.com

Auction Details

TWO IMPORTANT PRIVATE COLLECTIONS: MODERN / TRADITIONAL

by
Deutscher and Hackett
December 08, 2021, 07:00 PM AEDT

105 Commercial Road South Yarra, Melbourne, VIC, 3141, AU

Terms

Buyer's Premium

22.73%

Bidding Increments

From:To:Increment:
$0$999$50
$1,000$1,999$100
$2,000$3,199$200
$3,200$3,799$300
$3,800$4,199$200
$4,200$4,799$300
$4,800$4,999$200
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$31,999$2,000
$32,000$37,999$3,000
$38,000$41,999$2,000
$42,000$47,999$3,000
$48,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000$319,999$20,000
$320,000$379,999$30,000
$380,000$419,999$20,000
$420,000$479,999$30,000
$480,000$499,999$20,000
$500,000$999,999$50,000
$1,000,000+$100,000

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prospective buyers and sellers guide

1. PRIOR TO AUCTION

CATALOGUE SUBSCRIPTIONS
Catalogues can be obtained at Deutscher and Hackett offices or by online subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information go to www.deutscherandhackett.com).

PRE-SALE ESTIMATES
The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for
prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer's premium or other charges where applicable.

RESERVES
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SYMBOL KEY
? Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part.
In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price.
? Used to indicate lots for sale without a reserve.

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All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST'S NAMES
All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist's working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.
Terms used in this catalogue have the meanings ascribed to them below:
a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work
by the artist.
b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part.
c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist's period.
d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist.
e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist.
f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist.
g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist.
h. "signed" / "dated" in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist.
i. "bears signature" / "bears date" in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

PROVENANCE
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2. THE AUCTION

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CONDUCT OF AUCTION
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ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS
As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.

RESERVE
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BIDDING INCREMENTS
Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion):

$500 - 1,000 by $50
$1,000 - 2,000 by $100
$2,000 - 3,000 by $200
$3,000 - 5,000 by $200 / $500 / $800
$5,000 - 10,000 by $500
$10,000 - 20,000 by $1,000
$20,000 - 30,000 by $2,000
$30,000 - 50,000 by $2,000 / $5,000 / $8,000
$50,000 - 100,000 by $5,000
$100,000 - 200,000 by $10,000
$200,000 - 300,000 by $20,000
$300,000 - 500,000 by $20,000 / $50,000 / $80,000
$500,000 - 1,000,000 by $50,000
$1,000,000+ by $100,000

SUCCESSFUL BIDS
The fall of the auctioneer's hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS
Where a lot is unsold, the auctioneer will announce that the lot is "bought in", "passed", "withdrawn" or "returned to owner".

3. AFTER THE AUCTION

PAYMENTS
Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 3.10% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

PURCHASE PRICE AND BUYER'S PREMIUM
The purchase price will be the sum of the final bid price (including any GST) plus a buyer's premium set at 22% (plus GST) of the final bid price. An Invaluable service fee of 5% of the final bid price will also be charged. Buyers may be liable for other charges reasonably incurred once ownership has passed.
GOODS AND SERVICES TAX
Auctions are conducted on a GST inclusive basis (where GST applies). GST is payable on some lots. A list of those lots is set out in the catalogue. Buyers are required to pay a 10% G.S.T which sum is:
a. included in the final bid prices where buying from a GST registered vendor; and
b. included in buyer's premiums and any additional fees charged by Deutscher and Hackett.
If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION
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LOSS OR DAMAGE
Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING
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EXPORT
Prospective bidders are advised to enquire about export licences -- including endangered species licences and cultural heritage permits, where relevant -- prior to bidding at auction. Telephone the Maritime and Movable Heritage Unit on 02 6274 1810 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale.

COPYRIGHT
The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

Shipping Terms

Deutscher and Hackett's Registrar is happy to assist with advice about preferred carriers, if required. Email: ep@deutscherandhackett.com