PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE ETHEL CARRICK (1872-1952) A Bit of Ganderbal (also known as In Kashmir) c1938 oil on card 25.5 x 36.0 cm; 31.0 x 41.5 cm (framed) signed lower left: CARRICK FOX inscribed verso: A bit of Ganderbal/ 9 distressed label attached verso with artwork and artist details PROVENANCE Private collection, Melbourne Thence by descent, private collection, Melbourne We gratefully acknowledge the assistance of Dr Juliette Peers with the cataloguing of this lot.
ETHEL CARRICK 1872-1952 A Market in Kairouan (circa 1911) oil on canvas on board 24.5 x 30.5 cm PROVENANCE Ethel Carrick, Tunisia Private Collection, France Private Collection, Brisbane
ETHEL CARRICK FOX (1872-1952) The Twin Peaks gouache on paper signed lower left: Carrick Fox artist's name and title on unknown label verso 22.5 x 31cm PROVENANCE: Private collection, London Christie's, Melbourne, 28 May 1992, lot 161 Private collection, Melbourne Mossgreen Auctions, Melbourne, 2 June 2015, lot 118 Private collection, Melbourne EXHIBITIONS: Exhibition of Paintings by the late E.Phillips Fox and Ethel Carrick (Mrs. E. Phillips Fox), Athenaeum Art Gallery, 27 February - 10 March 1934, cat. no. 117 (as 'The Twin Peaks') (label verso) OTHER NOTES: -Viewing in Sydney-
Ethel Carrick Fox (1872 - 1952) The Pont Neuf, Paris, c.1930 tempera on card 26.0 x 35.0 cm signed lower left: CARRICK FOX signed and inscribed with title on artist’s label verso: 46 / The Pont Neuf, Paris / E. Carrick Fox Lucien Lefebvre-Foinet, Paris, label attached verso (stock no.4988) bears Bouane Centale Exportation, Paris stamp verso PROVENANCE Estate of the artist Collection of Pictures by the Late E. Phillips Fox and E. Carrick Fox, Leonard Joel, Melbourne, 26 September 1952, lot 5 Osborne Art Gallery, Adelaide, acquired from the above in 1952 Private collection, Sydney EXHIBITED Exhibition of Paintings by the late E. Phillips Fox and Ethel Carrick, Athenaeum Art Gallery, Melbourne, 27 February – 10 March 1934, cat. 119 LITERATURE 'Australian Artists at the Athenaeum', The Age, Melbourne, 27 February 1934, p. 7
ETHEL CARRICK 1872-1952 Place de la Concorde (circa 1918-1919) oil on canvas on board 88 x 137 cm PROVENANCE Ethel Carrick, Paris The Estate of Ethel Carrick, Melbourne Leonard Joel, Melbourne, acquired from the above Graham Joel, Melbourne, by descent from the above Private Collection, Melbourne, by descent from the above EXHIBITED Spirit of Place, Benalla Art Gallery, Benalla, August 1977, no. 70, ‘Paris Scene' Ethel Carrick (Mrs. E. Phillips Fox): A Retrospective Exhibition, Geelong Art Gallery, Geelong, 30 March – 4 May 1979; S.H. Ervin Gallery, Sydney, 11 May – 3 June 1979; University Art Museum, Brisbane, 13 June – 5 July 1979, no. 31, ‘(London Taxis in Paris during World War I)', illustrated Art, Love and Life: Ethel Carrick and E. Phillips Fox, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 16 April – 7 August 2011, illustrated A Distinguished Private Collection of Australian Art, Smith & Singer (trading as Sotheby's Australia), Melbourne, 25 February – 8 March 2013, no. 39, illustrated Ethel Carrick, National Gallery of Australia, Canberra, 7 December 2024 – 27 April 2025, no. 49, illustrated LITERATURE Margaret Rich and Ruth Zubans, Ethel Carrick (Mrs. E. Phillips Fox): A Retrospective Exhibition, Geelong Art Gallery, Geelong, 1979, n.p. (illustrated) Angela Goddard, Art, Love and Life: Ethel Carrick and E. Phillips Fox, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2011, pp. 138 (illustrated), 139, 151, 158 Geoffrey Smith and David Hansen, A Distinguished Private Collection of Australian Art, Smith & Singer (trading as Sotheby's Australia), Melbourne, 2013, pp. 11, 49 (illustrated), 94 Deborah Hart (ed.), Ethel Carrick, National Gallery of Australia, Canberra, 2024, pp. 91, 92 (illustrated), 281
ETHEL CARRICK FOX (1872-1952) (Place de la Concorde, Paris) c.1918-1919 oil on panel signed twice indecipherably lower right 26 x 33.5cm PROVENANCE: The Collection of John A. Hogan, Melbourne (label verso) Christie's, Melbourne, 22 August 2000, lot 94 (as "Emanuel Phillips Fox, Place De La Concorde") Private collection, Western Australia EXHIBITIONS: Spring Exhibition, Kozminsky Galleries, Melbourne, 2000, cat. no. 12 (label verso) OTHER NOTES: RELATED WORK: Ethel Carrick Fox, Place de la Concorde c.1918-19, oil on canvas on masonite, private collection and illustrated in Hart, Dr D., (eds), Ethel Carrick 1872-1952, National Gallery Australia, 2024, cat. no. 49, p. 92 (illus.) Ethel Carrick Fox, The Statue of Strasbourg, Place de la Concorde, Paris 1918, oil on wood panel, private collection and illustrated in Hart, Dr D., (eds), Ethel Carrick 1872-1952, National Gallery Australia, 2024, cat. no. 125, p. 217 (illus.) Ethel Carrick Fox holds the record for a historic woman artist from settler/European culture in the Australian art auction market, only surpassed by the incomparable Emily Kame Kngwarreye (who has achieved the highest price of any Australian woman artist at auction). (1) Since the expansion of the Australian secondary art market from the 1970s and the slow but steady growth of interest in women artists across the same five decades, individual works by Carrick have consistently attracted attention, yet it was not until 2024-2025 when the NGA presented a transformative career-spanning survey curated by Deborah Hart that the full complexity, richness and coherency of Carrick's diverse oeuvre could be understood. Works were assembled from a multitude of public and private collections across the country and the impact of her long career, and her wide travels became evident. In the light of this new understanding of Carrick's life and work, the singular importance of her c 1918-1919 view of the Place de la Concorde is now revealed. The picture unites Carrick's personal history of loss and bereavement following the relatively sudden death of her husband in 1915, which came as a shock to friends and family with the larger story of the hardships and privations of civilian life in war-torn France. After organising a major memorial exhibition of her husband's work in Melbourne, Carrick left Australia. Firstly, she spent some time in Britain with a sister who would later lose two sons on the Western Front. At this date Carrick deeply mourned her husband and began her lifelong campaign to promote his art. Then Carrick moved to Paris, vastly changed from the gracious city of fashion and culture she had left in 1913. Streets and parks of Paris and observing the leisured and wealthy had featured strongly in her pre-war subject matter. Now Parisians faced chronic shortages of fuel and food, coldness and hunger. Carrick replaced her flower garden with potatoes, peas and beans as essential supplies. She also vividly described in the Australian press sheltering from early air raids and bombing attacks with her neighbours. The suffering of civilian and refugee women in Paris were her new reality. She undertook volunteer welfare work and fundraised to provide for women and children, who were displaced and bereaved. Comfort and support of Allied prisoners of war also engaged her energies. Through friends in Australia in both Sydney and Melbourne, including Mrs Herbert Brookes and Ethel Stephens, she sent requests back to Australia for help, goods and funds, for various urgent charities organised out of France. She provided works for Violet Teague's war time fundraising exhibitions in Melbourne and promoted the Allied cause in Australian newspapers, a living witness to the sufferings of the French people. Other Australian artists in Paris such as Rupert Bunny, Bessie Davidson and Etta Phillips were involved in similar voluntary support work for medical and humanitarian needs during the war. (2) In early 1917 Carrick wrote to Ivy Brookes stating that she had not painted since returning Paris, (3) possibly the combination of personal and public griefs was overwhelming. Yet certainly by 1919 she was again producing work. The war's end was marked by a scene of the statue of Strasbourg bedecked with the French tricolour, celebrating the return of the city to French governance. A light and sun-filled scene of the Place de La Concorde is assumed to represent the upswing of joy and hope at the end of the war. These remarkable scenes of Paris after the armistice are held in private collections and less known to the public than her prewar images. Amongst these Parisian street scenes, some images with a more sombre gloomy and claustrophobic light, often a slightly yellow smoke-stained fog, would appear to date from before the war's end. A street scene with autumn leaves and a solitary French soldier, immediately recognisable in his horizon blue uniform, suggests September October in either 1917 or 1918 before the war's end. The sober, even melancholy, mood suggests immersion in a war that in 1917 still remained in a stalemate. Likewise, this view of the Place de la Concorde, whilst directly linked to this series of Parisian views, does not suggest the celebration of peace and newly restored territories, but a city under the privations of active defence mobilisation with the range of artillery parked in what in peacetime was a grand plaza in the heart of the city. At least one figure in uniform is clearly recognisable. This work demonstrates Carrick's love of painting public spaces and public life though broad and rapid brushstrokes. Her brief and economical style equally offers details of form and colour which also capture specific mood and action within the given scene. Carrick is rightly famed for her buoyant, lively scenes of parks and markets, of people relaxed and at play. In presenting a vastly different moment of Parisian life, Carrick shows a depth and empathy, as well as a sense of the historical moment that is unfamiliar. This sense of intentionally recording a historic moment also appears in her writings on her experience in Paris during the war. Whilst this work has traded previously as a scene of Paris by her husband from c 1890, the profiles of the vehicles and the massed artillery indicate that the painting dates from after Fox's last recorded residence in Paris in 1913. The palette and handling tie in perfectly with the remarkable series of wartime and postwar scenes of Paris produced by Carrick. Dr Juliette Peers Dr Juliette Peers is a leading scholar of Australian women artists, with extensive research and publications spanning the period from the 1880s to the 1960s. She taught design history at RMIT University from 1994 to 2019 and has curated projects with public galleries across Australia, Europe, Britain and North America, including roles at the National Gallery of Victoria and McClelland Gallery. An associate curator at Gippsland Art Gallery, she serves on the editorial advisory board of Artlink magazine and has an ongoing collaboration with the Sheila Foundation. Her recent publications include essays for Lesley Dumbrell: Thrum (AGNSW, 2024), Ethel Carrick (NGA, 2024-25), Turner and Australia (Gippsland Art Gallery, 2025), and Keeping Things Together: 50 Years of the Women's Art Register (2025). 1. Jenna Price "Australia's top 12 bestselling women artists - and their biggest sales" Sydney Morning Herald 13 November 2020 Australia's top 12 bestselling women artists - and their biggest sales viewed February 2026 2. Commentaries on Carrick's life during World War One may be found in Deborah Hart "Ethel Carrick's life and art" pp 90-94, Juliette Peers "Friend, Mentor, Inspiration: Carrick's impact on Australian Women" pp226-237 in Deborah Hart ed. Ethel Carrick Canberra: National Gallery of Australia. Juliette Peers Ethel Stephens in Sheila Foundation Into the Light donations 2021 Into the Light: Donor Circle Acquisitions: 2021 - Sheila Foundation 3. Quoted in Catherine Speck "Sorrow and service: Carrick Across the two world wars" in Hart ed p 219
ETHEL CARRICK 1872-1952 Luxembourg Gardens oil on wood panel signed 'CARRICK. FOX' lower left 15.5 x 21.8 cm PROVENANCE Ethel Carrick, Paris Private Collection Private Collection, Western Australia Fine Australian & International Paintings and Decorative Arts, Sotheby's Australia, Melbourne, 26 November 2001, lot 74, illustrated Private Collection, New South Wales, acquired from the above
PROPERTY FROM THE FRANK & JANET SOUTH COLLECTION, VICTORIA ETHEL CARRICK (1872-1952) Hydrangeas c1925 oil on board 51.0 x 61.0 cm; 65.5 x 75.0 cm (framed) signed lower left: CARRICK FOX signed and inscribed verso: Blue Hydrangeas/ 25 Guineas/ Carrick Fox/ 443 Bourke St
Ethel CARRICK FOX (1872–1952) A still-life of peony roses and other flowers in a vase on a table Oil on canvas, later laid down on composition board Signed and dated lower left: Carrick Fox / 1934 59.5 x 47.5cm PROVENANCE: Christie's, Australian and International Paintings, Melbourne, 24 November 1999, lot 81 Kozminsky Galleries, Melbourne, from whom purchased by the vendor in late 1999
ETHEL CARRICK 1872-1952 Autumn Flowers (circa 1925) oil on canvas signed ‘CARRICK FOX' lower left 61.5 x 51.5 cm PROVENANCE Ethel Carrick, Paris and Melbourne The Estate of the late Ethel Carrick, Melbourne Collection of Pictures by the late E. Phillips Fox and E. Carrick Fox, Leonard Joel, Melbourne, 26 September 1952, lot 28 (label verso) Private Collection Australian & International Painting, Deutscher-Menzies, Melbourne, 23 August 1999, lot 105, illustrated Private Collection, Queensland, acquired from the above EXHIBITED Catalogue of Pictures by the late E. Phillips Fox and Ethel Carrick (Mrs E. Phillips Fox), S.A. Society of Arts Gallery, Adelaide, 15 July – 3 August 1925, no. 59, 20 gns Catalogue of an Exhibition of Oil Paintings by the Late E. Phillips Fox and of Ethel Carrick (Mrs. E. Phillips Fox), Anthony Hordern & Sons Ltd, Sydney, 1-15 October 1925, no. 71, 18 gns Exhibition of Paintings by The Late E. Phillips Fox and Ethel Carrick (Mrs. E. Phillips Fox), Athenaeum Art Gallery, Melbourne, 27 February – 10 March 1934, no. 62, 10 gns Pictures by Ethel Carrick (Mrs E. Phillips Fox), Melbourne Book Club Gallery, Melbourne, 20 June – 2 July 1949, no. 18, 30 gns
ETHEL CARRICK 1872-1952 Scene in Kashmir (circa 1938) oil on canvas signed 'CARRICK FOX' lower left 25.5 x 31.5 cm PROVENANCE Ethel Carrick, Kashmir Private Collection, Melbourne Private Collection, Melbourne by descent from the above
ETHEL CARRICK FOX (1872 - 1952) BATHERS IN THE SURF oil on canvas on composition board 26.5 x 37.0 cm 44.5 x 55.0 cm (frame) signed lower left: CARRICK FOX PROVENANCE Joseph Brown Gallery, Melbourne Private collection, Melbourne, acquired from the above in September 1980 EXHIBITED Spring Exhibition 1980, Joseph Brown Gallery, Melbourne, 1 – 10 September 1980, cat. 68 This work is located in our Melbourne Gallery
ETHEL CARRICK FOX (1872 - 1952) FLOWERS IN A GREEN JUG oil on canvas 61.0 x 46.0 cm signed lower left: CARRICK FOX PROVENANCE Private collection, Melbourne, since c.1965 Thence by descent Private collection, Melbourne Private collection, Melbourne, since 2005
PROPERTY FROM A PRIVATE COLLECTION, BRISBANE ETHEL CARRICK (1872-1952) Glass House Mountains c1941 oil on canvas on board 26.0 x 36.0 cm; 46.5 x 56.0 cm (framed) signed lower right: CARRICK FOX bears inscription verso: THE GLASSHOUSE MOUNTAINS/ ETHEL CARRICK-FOX
FOX, Ethel Carrick (1872-1952) 'Bringing in the Cows' Signed lower left. Oil on Canvas on Board 27x37cm PROVENANCE: Leonard Joel, Melbourne, 25th May 1973 (lot 319); Sotheby's, Melbourne, 19th April 1993 (lot 98)
Eternal Snow, 1919 oil on canvas signed 'Carrick Fox' lower right 24cm x 34cm Provenance: Leonard Joel, Australian & European Paintings, Melbourne, 14/04/2008, Lot No. 105
ETHEL CARRICK FOX (1872-1952) The Flower Market Paris ETHEL CARRICK FOX (1872-1952) The Flower Market Paris lithograph signed and editioned on margin: Carrick Fox 14/25 24 x 36.5cm PROVENANCE Estate of Carrick Fox, Leonard Joel, Melbourne, 1952
ETHEL CARRICK FOX (1872-1952) Market Square, Paris lithograph signed and editioned on margin: Carrick Fox 15/25 32.5 x 45.5cm PROVENANCE Estate of Carrick Fox, Leonard Joel, Melbourne, 1952
ETHEL CARRICK FOX (1872-1952) Costal Village France lithograph signed and editioned on margin: Carrick Fox 11/25 28 x 37cm PROVENANCE Estate of Carrick Fox, Leonard Joel, Melbourne, 1952
ETHEL CARRICK FOX (1872-1952) The Pond Luxemburg Gardens, Paris lithograph signed and editioned on margin: Carrick Fox 17/25 33 x 45cm PROVENANCE Estate of Carrick Fox, Leonard Joel, Melbourne, 1952
FOX, Ethel Carrick (1872-1952) Coastal Bays with Distant Peak Signed 'Carrick Fox' lower left. Oil on Canvas on Ply 26x33.5cm PROVENANCE: Philip Bacon Galleries, Brisbane 1984 (cat #PB6 inscribed verso); The Collection of Sir Maurice and Lady Byers, Sydney; Shapiro Auctioneers, Sydney, 30th April 2015 (lot 92); private collection, NSW.
Eternal Snow, 1919 oil on canvas signed 'Carrick Fox' lower right 24cm x 34cm Provenance: Leonard Joel, Australian & European Paintings, Melbourne, 14/04/2008, Lot No. 105
ETHEL CARRICK FOX (1872-1952) Balmoral Beach, Sydney Harbour circa 1945-48 oil on canvas on board signed lower left: Carrick Fox 42 x 57.5cm PROVENANCE Christies, Melbourne, Australian Paintings, 9 April 1991, Lot 274 The George Brugler & Jasmine Cowen Collection, Melbourne RELATED WORKS On Balmoral Beach, Sydney, 1913, oil on canvas on board, 26cm x 34cm; Mosman Art Gallery, Sydney, donated by Neil Balnaves AO
ETHEL CARRICK FOX (1872-1952) Wheatfield oil on canvas laid on board signed lower left: CARRICK FOX 24 x 34.5cm PROVENANCE: Leonard Joel, Melbourne, 26 July 1989, lot 85 Private collection, Melbourne
ETHEL CARRICK FOX. TRAVELS AND TRIUMPHS OF A POST-IMPRESSIONIST. BY SUSANNA DE VRIES. BRISBANE 1997. 27 CM TALL. HARDCOVER WITH DUST JACKET. WITH MANY COLOUR AND B/W ILLUSTRATIONS.
ETHEL CARRICK FOX (1872-1952) Paris Flower Market lithograph signed and editioned on margin: Carrick Fox / 4/25 25 x 37.5cm PROVENANCE The Estate of Carrick Fox, Leonard Joel, Melbourne, 1952 Acquired from the above Thence by descent
ETHEL CARRICK FOX (1872-1952) French Fishing Village lithograph Signed and editioned on margin: Carrick Fox / 9/25 29 x 37cm PROVENANCE The Estate of Carrick Fox, Leonard Joel, Melbourne, 1952 Acquired from the above Thence by descent
ETHEL CARRICK FOX (1872-1952) Market Square, Paris lithograph Signed and editioned on margin: Carrick Fox / 18/25 32 x 46 cm PROVENANCE The Estate of Carrick Fox, Leonard Joel, Melbourne, 1952 Acquired from the above Thence by descent
ETHEL CARRICK FOX (1872-1952) The Boating Pond, Paris lithograph signed and editioned on margin: Carrick Fox / 23/25 33 x 45cm PROVENANCE The Estate of Carrick Fox, Leonard Joel, Melbourne, 1952 Acquired from the above Thence by descent
PROPERTY FROM THE ESTATE OF A PRIVATE COLLECTION, SYDNEY ETHEL CARRICK (1872-1952) Orchard in Bloom oil on board 26.0 x 36.5 cm; 43.0 x 53.0 cm (framed) signed lower left: Carrick Fox bears inscription verso: ORCHARD/ IN BLOOM/ ETHEL CARRICK FOX
ETHEL CARRICK FOX (1872-1952) Distant Alps oil on board signed lower left: CARRICK FOX 24 x 35cm PROVENANCE: Christie's, Melbourne, 22 November 2000, lot 118 Private collection, Melbourne
Rainbow Bay, Tweed Heads - Point Danger oil on canvas on board, inscribed with authentication by Will Ashton and Frank Payne dated 3 February 1953 verso
Ethel Carrick Fox (1872-1952) (The Art School) also known as The Studio signed lower left: 'Carrick Fox' oil on canvas on card 38.0 x 29.5cm (14 15/16 x 11 5/8in).
