With the Beaux-Arts Gallery (dealer), London, 1957; from where purchased, on the advice of A. J .L. McDonnell, for the Felton Bequest 1957.
With the Beaux-Arts Gallery (dealer), London, 1957; from where purchased, on the advice of A. J. L. McDonnell, for the Felton Bequest 1957.
With McRoberts & Tunnard Gallery, London (dealer), 1959; from where purchased, on the advice of A. J. L. McDonnell, for the Felton Bequest, 1960.
With Redfern Gallery (dealer), London, by October 1955; from where purchased, on the advice of by A. J. L. McDonnell, for the Felton Bequest, 1955 (arrived Melbourne 1956).
With the Leicester Galleries (dealer), London, by 1956; from where purchased, on the advice of A. J. L. McDonnell, for the Felton Bequest, 1956, arrived Melbourne 1957.
It is an enchanting scene.
Andalusian farm, 1949, is typical of Tristram Hillier’s mature painting style, exemplifying his distinctively meticulous approach to materials and metho
In 1901 Augustus John accepted a teaching post at an art school affiliated with Liverpool’s University College, and he and his wife Ida relocated to Merseyside, Englan
The 1920s and 1930s saw Augustus John triumph as a portraitist.
With the Beaux Arts Gallery (dealer), London, 1956; from where purchased, on the advice of A. J. L. McDonnell, for the Felton Bequest, 1956.
Collection of J. W. Freshfield (b.
Augustus John. War, Peace Conference & other Portraits, Alpine Club, London, 1920, no. 27; from where purchased, on the advice of Frank Rinder, for the Felton Bequest, 1920.
With Arthur Tooth & Sons (dealer), London, 1932; from where purchased, on the advice of Randall Davies, for the Felton Bequest, 1932.
Exhibited Michael Andrews, Beaux Arts Gallery (dealer), London, 1958, no. 11; from where purchased, on the advice of A. J. L. McDonnell, for the Felton Bequest, 1959.
Philip Connard’s Helen and Jane, 1913, a charming study of the artist’s two daughters, did not please everyone on its arrival in Melbourne in 1933. ‘The Connard is not good’, declared The Australasian on 3 March 1933. ‘It is unlovely in flesh colours, and one must feel sorry for “Jane”, who stands behind “Helen” in “Helen and Jane”. She may be in shade, but her grey pallor indicates the necessity for a hospital. The picture has decorative qualities and may please many