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Lot 14: TOM ROBERTS, KIRRIBILLI POINT, SYDNEY, c.1895

Est: $80,000 AUD - $120,000 AUDPassed
Deutscher and HackettMelbourne, AustraliaDecember 08, 2021

Item Overview

Description


TOM ROBERTS
(1856 - 1931)
KIRRIBILLI POINT, SYDNEY, c.1895
oil on wood panel
18.0 x 25.5 cm

PROVENANCE
Mr H. L Johnstone
Leonard Joel, Melbourne, 7 March 1969, lot 26 (as ‘Sydney Harbour, c.1880’)
Private collection, Adelaide
Thence by descent
Private collection, Adelaide

EXHIBITED
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. 98 (as ‘Summer’)

LITERATURE
Spate, V.,  Tom Roberts, Lansdowne Press, Melbourne, 1978, cat. 86
Topliss, H., T om Roberts: A Catalogue Raisonné, vol. I, Oxford University Press, Melbourne, 1985, cat. 284, vol. II, pl. 128 (as ‘Untitled, Kirribilli Point’, c.1890 – 98)

ESSAY
Hailed as the father of Australian landscape painting, Tom Roberts holds a significant place in the history of Australian art. With Fred McCubbin and Louis Abrahams, he established the first painting camp at Box Hill in the summer of 1885, cementing the local practice of plein air painting with naturalistic images which celebrated the ‘wild bush, tall young saplings with the sun glistening on their leaves’.1 Four years later, Roberts was the instigator of the famous 9x5 Impression Exhibition held at Buxton’s Rooms in Melbourne, where 183 small paintings – many on cigar box lids – declared that quick, painterly impressions emphasising fleeting atmospheric effects were the artistic order of the day.

Roberts is perhaps best known, however, for his large and consciously nationalistic pictures which have become iconic depictions of life in Australia including Shearing the Rams, 1888-90 (National Gallery of Victoria) and A Break Away!, 1891 (Art Gallery of South Australia). Painted during the late nineteenth century, in the years leading up to the Federation of Australia, these pictures remain on permanent display in the public galleries that house them, markers of national identity centred on rural life and activity, which still have relevance despite Australia’s urbanisation and the fact that most of the population resides in cities along the coastal periphery. 

Although Roberts and his fellow members of the so-called Heidelberg School are strongly associated with the rural Australian landscape, they lived predominantly urban lives and were at home in close proximity to the city. Bush scenes were painted during camps and on excursions made possible by the extension of the railway network around Melbourne. Later, Roberts travelled widely, seeking varied subjects for his work, but he also consistently maintained city-based studios. In Melbourne for example, he was at 95 Collins Street in 1885 – where he probably began work on the view of Melbourne’s bustling centre, Allegro con brio, Bourke Street west, c.1885-86, reworked 1890 (National Gallery of Australia and the National Library of Australia) – then the St James Building, 59 William Street (1887) and from 1888, a residential studio on the top floor of Collins Street’s new Grosvenor Chambers. A member of the Buonarotti Club, as well as a founding member of both the Australian Artists’ Association and the Victorian Artists’ Society, Roberts was actively involved in Melbourne’s artistic community during these years. He also understood the importance of cultivating the audience for his work, and the critical need for enthusiastic patrons, opening his studio for previews and socialising with the right people. To this end, he was successful, as the range of sitters who feature in his extensive portrait oeuvre attests.

Visiting Sydney for several weeks in March-April 1888, Roberts met the young Charles Conder and working side by side, the two artists famously painted views of Coogee Bay from the same vantage point.2 Roberts’ Holiday Sketch at Coogee, 1888 (Art Gallery of New South Wales) reflects his delight in the beauty of the scene and the intensity of Sydney’s light and colour. The vibrant blue of the ocean is a central focus. Other seascapes from the time were ‘executed with unprecedented boldness … Roberts was not so much depicting the objective being of the landscape, as expressing his subjective reaction to it. He translated his external delight into sensuously handled paint.’3

The chromatic brilliance of harbourside Sydney is also a primary focus of this view. A study of sea and sky, the picture is divided into two broad horizontal bands, the pale blue of the sky, broken up with occasional white clouds, reflected in the vivid blue of the calm water below. Helen Topliss has identified the area seen across the open water as Kirribilli Point, and the distinctive multi-storey building on the left hand side appears to be the Pastoral Finance Association Wool Store, which was constructed in 1892 adjacent to the grounds of Admiralty House, the long roof of which can be seen to the right.4 The seven storey PFA warehouse was reportedly ‘one of the most conspicuous [buildings] on the harbour front’5 and when it burned down in December 1921 along with the 30,000 bales of wool it housed, provided ‘a magnificent spectacle … for the thousands of ferry passengers … who watched the devastating progress of the fire’.6 The industry that characterised much of harbourside Sydney during the late nineteenth century is highlighted by the nearby tug boat, a short white wake describing its slow and steady path. The most prominent man-made element of the scene is the elegant four-masted schooner to the right, which directs the view into the distance beyond Kirribilli Point towards Bradleys Head, with Fort Denison visible in between. Topliss highlights the variety in Roberts’ painting technique, pointing out that the lines on the side of the vessel are incised with the end of a paint brush.7 The textured sky too, exemplifies his lively brushwork.

Roberts had been resident in Sydney since 1891, when he arrived from Melbourne by ship with Arthur Streeton, and took up residence at Curlew Camp on Little Sirius Cove. Living at the beachside campsite on and off until his marriage five years later, Roberts had constant access to the water and Kirribilli Point, thought to have been painted during the mid-1890s, reflects his intimate knowledge of the myriad moods and colours of the harbour.

1. Nancy Elmhurst Goode quoted in Whitelaw, B., ‘’Plein Air’ Painting: The Early Artists’ Camps Around Melbourne’ in Clark, J. and Whitelaw, B., Golden Summers: Heidelberg and Beyond, National Gallery of Victoria, Melbourne, 1985, p. 55
2. Tom Roberts, Holiday Sketch at Coogee, 1888 (Art Gallery of New South Wales) and Charles Conder, Coogee Bay, 1888 (National Gallery of Victoria). See Eagle, M., ‘Friendly Rivalry: Paintings of Waterside Sydney, 1888 and 1890’ in Lane, T., Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, pp. 103 – 108
3. Spate, V., Tom Roberts, Lansdowne Editions, East Melbourne, 1978, p. 52
4. Topliss, H., Tom Roberts 1856-1931: A Catalogue Raisonné, vol. 1, Oxford University Press, Melbourne, 1985, cat. 284, p. 152. Topliss notes ‘the building on the left is Dalgetty’s [sic.] woolshed, which burned down in 1926’, however research suggests that the wool store was owned by the Pastoral Finance Association and burned down in 1921. See ‘The Leading Wool Selling Houses of Sydney’, The Sydney Wool and Stock Journal, 9 May 1902, p. 7; ‘The Great Sydney Fire: Destruction of the P.F.A. Stores’, Sydney Mail, 21 December 1921, p. 5 and ‘Kirribilli’s Great Fire’, Sydney Morning Herald, 17 May 1954, p. 7.
5. Sydney Mail, ibid.
6. Ibid.
7. Topliss, vol. 1, op. cit., p. 152

KIRSTY GRANT

Artist or Maker

Payment & Shipping

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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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POST-SALE CONDITIONS

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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
The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS
In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend.

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.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS
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
Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality.

2. THE AUCTION

Auctions are open to the public and are free to attend. Deutscher and Hackett may exclude any person at any time in its discretion.

REGISTRATION
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CONDUCT OF AUCTION
Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve.

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
Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor.

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
Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

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
Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties.

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