Market cart
1936
- Medium
- bromoil print
- Measurements
- (31.1 × 35.5 cm) (image)
- Place/s of Execution
- Victoria
- Inscription
- inscribed in pencil on mount l.l.: Market Cart
inscribed in pencil on mount l.r.: Wm Thos. Owen FRPS (en FRPS underlined)
inscribed in ballpoint pen on support reverse u.l.: 33
inscribed in pencil on support reverse u.c.: WILLIAM T. OWEN FRPS / 466 BURKE RD. / S. CAMBERWELL / MELBOURNE
inscribed in pencil and ballpoint pen on support reverse c.l.: "MARKET CART" / No 2 (crossed out) / Bromoil
inscribed in pencil on support reverse c.r.: Oil
inscribed in blue ballpoint pen and pencil on support reverse l.l.: C/O Dr L. A. Love
inscribed in ballpoint pen on support reverse l.l.: Bromoil (underlined) / 1936
inscribed on adhesive label: VICTORIAN / SALON OF / PHOTOGRAPHY / This print was Accepted / and Hung at the / Victorian Salon of / Photography, 1937 / (Australia)
inscribed in adhesive label u.l.: EXHIBITED BY / WESTERN / UNION / CAMERA / CLUB / 60 HUDSON ST. / NEW YORK. N.Y. INTERNATIONAL SALON OF PHOTOGRAPHY / ACCEPTED AND HUNG / AT THE NEW ZEALAND / CENTENIAL EXHIBITION / INTERNATIONAL SALON / OF PHOTOGRAPHY / 31st JANUARY TO / 28th FEBRUARY 1940
EXHIBITED AT / THE CAMERA CLUB / NEW YORK / THE CAMERA CLUB / OF NEW YORK / 121 EWST 68th STREET / NEW YORK CITY / NOV -1950
inscribed on adhesive label l.l.: THIS PRINT WAS EXHIBITED AT / TEANECK / camera / Club / TEANECK. NEW JERSEY Exhibited by / Staten Island / Camera Club of N.J. Exhibited / 543 West 21sth St. / MEMBER OF METROPOLITAN CAMERA COUNCIL / New York City / Dyckman / Camera Club / Date ______
inscribed on adhesive label l.c.: Exhibited at / THE EQUITABLE LIFE / CAMERA CLUB / New York City / Room for Lunching-Lounge / Feb. 12th to 16th Inclusive - Accession Number
- PH207-1971
- Department
- Australian Photography
- Credit Line
- National Gallery of Victoria, Melbourne
Gift of C. Stuart Tompkins, 1971 - Gallery location
- Not on display
- About this work
-
Joos van Craesbeeck was the only known pupil of the Flemish genre painter Adriaen Brouwer and became a leading painter known for his quirky, often macabre, sense of humour. This homely scene reflects his characteristically wry view of mortality. A skeleton creeps up on an elderly woman, who is surrounded by familiar symbols of death. Outside, a second skeleton takes possession of a coffin in a churchyard. Behind the woman a message warns the viewer that ‘No bird, flesh or fish has ever dodged it, they don’t miss shooting’. A second inscription states: ‘My body is/has been preserved; I know not where my soul dwells’.
