Vida Lahey Paintings & Artwork for Sale | Vida Lahey Art Value Price Guide

Sep. 14, 2026
VIDA LAHEY (1882-1968) Still Life with Garden Roses c.1930 watercolour on paper 29 x 34cm
Est: $5,000 - $7,000
VIDA LAHEY (1882-1968) Still Life with Garden Roses c.1930 watercolour on paper signed lower right: V. LAHEY. 29 x 34cm PROVENANCE: The Artist Private collection, Queensland Thence by descent Private collection, Victoria Thence by descent
Leonard Joel
Aug. 26, 2026
Vida Lahey, Coolangatta, c.1935
Est: $25,000 - $35,000
Vida Lahey (1882 - 1968) Coolangatta, c.1935 watercolour on paper on card 26.0 x 35.0 cm signed lower right: V. LAHEY signed and inscribed with title on artist's handwritten label verso: "Coolangatta" / Vida Lahey inscribed on label verso: Ada + Oswald with love from Vi PROVENANCE Oswald and Ada Lahey, a gift from the artist Thence by descent Patricia Hannah, Perth, 1987 Thence by descent Private collection, Perth LITERATURE MacAulay, B., Supplement to Songs of Colour. The Art of Vida Lahey, works Located to 1989, Queensland Art Gallery, Brisbane, 1989, p. 10 ESSAY Vida Lahey’s delightful watercolour Coolangatta, c.1935, captures the southern Queensland beach resort as it appeared before a post-World War II building boom led directly to the construction of numerous high-rise apartments which altered the skyline forever. An airport built there in 1936 increased tourist numbers even further. Lahey was a prolific artist and her various views of Brisbane and the Gold Coast now form important resources for heritage records of the changing landscape. She exhibited at least seven works during her life done at nearby Burleigh Heads, but only three others are recorded of Coolangatta, which is located on the traditional lands of the Yugambeh people: two from 1946 and one from 1952.1 It appears that Lahey was standing at what is now the Rainbow Bay lookout in Pat Fagan Park looking north, or alternatively, positioning herself in the nearby observation tower of Fagan’s Greenmount Guesthouse (since demolished) which he operated from 1904 to 1944. Coolangatta shows the lazy curve of Greenmount Beach at the southeastern end adjacent to the headland and gives a clear indication as to why the area became Queensland’s first recognised beach resort, with more than 16,000 people visiting by train in 1914 alone. With a scatter of Couta-style fishing boats beached above the tideline on the sand, the middle ground of the watercolour is occupied by the clusters of guesthouses and homes that already marked the beach’s resort status. At centre, the red brick bell tower of St Augustine’s Catholic Church pierces the skyline, a prominent landmark since its erection in 1926. Not surprisingly, this landscape has since been replaced by rows of high-rise apartments running along Marine Parade. Lahey was particularly active during 1935 having been described the previous year in William Moore’s landmark history of Australian art as being ‘the leading artist in Queensland’2, noting also her pivotal involvement (with Daphne Mayo) in establishing the Queensland Art Gallery’s new building in 1931. Lahey was now running art classes in Brisbane’s Edward Butler’s building, was a judge for the Gordon Rivers Art Prize and exhibited at the Royal Queensland Art Show in September. In November 1935, she held a notable exhibition of oils and watercolours at Grosvenor Galleries in Sydney, with one critic noting admirably that ‘in the handling of colour, Miss Lahey is a virtuoso.’3 The show was mostly comprised of flower studies and indeed, the only other known landscapes from that year are of Brisbane’s Anzac Memorial, City Hall and St John’s Cathedral. Coolangatta was not included at Grosvenor Galleries; she instead gifted the piece to her younger brother Oswald and his wife Ada who had married in 1930. 1. Two of these Coolangatta paintings were included in Exhibition of recent paintings (mainly watercolours) by Vida Lahey, Finney’s Art Gallery, Brisbane, 27 June – 12 July 1946, cats. 1 and 7 2. Moore, W., The story of Australian art: from the earliest known art of the continent to the art of today, vol. 1, Angus & Robertson, Sydney, 1934, p. 112 3. ‘Art exhibitions: Miss Vida Lahey’, Sydney Morning Herald, Sydney, 13 November 1935, p. 9 ANDREW GAYNOR
Deutscher and Hackett
Aug. 26, 2026
Vida Lahey, Customs House, Hobart, c.1928
Est: $30,000 - $40,000
Vida Lahey (1882 - 1968) Customs House, Hobart, c.1928 oil on canvas on board 30.5 x 38.0 cm signed lower right: F. V. LAHEY. PROVENANCE Mildred Lovett, Hobart, probable gift from the artist Thence by descent Private collection, Melbourne Private collection, Victoria, acquired from the above RELATED WORK The Customs House, Hobart, 1923, oil on canvas, 30.8 x 37.0 cm, private collection, illus. in MacAulay, B., Songs of Colour: The Art of Vida Lahey, Queensland Art Gallery, Brisbane, 1989, p. 50 Customs House, Hobart, 1929, oil on canvas on plywood, 41.0 x 51.0 cm, private collection, illus. in MacAulay, B., Songs of Colour: The Art of Vida Lahey, Queensland Art Gallery, Brisbane, 1989, p. 50 ESSAY This hitherto unrecorded painting of Customs House, Hobart, was likely painted by Vida Lahey on her return to Australia after her second journey to Europe in the late 1920s. Its compositional design and gestural brushwork differ from her earlier pieces, a method she first utilised in paintings done in Italy in 1928, particularly Santa Margherita, 24km from Genoa, and Early morning, Santa Margherita. This is supported by the fact that the painting was originally owned by her close friend, the artist Mildred Lovett, whom Lahey revisited when her ship stopped at Hobart on the journey back to her home in Brisbane, allowing her to stay with her colleague for a period. Lovett already owned an earlier painting by Lahey, Customs House, 1923, which has the same dimensions as this work, and the supposition is that Lahey painted this alternate view in her new style to act as a pendant to the existing work. Vida Lahey was an extremely important artist in the early twentieth century studying first in her late teens with Godfrey Rivers at the Brisbane Technical College before moving to Melbourne where she trained further at the National Gallery School between 1905 and 1909. In 1912, her early masterwork Monday morning, 1912, was purchased by the Queensland Art Gallery, and has remained a firm favourite with audiences ever since. In 1915, she travelled to London as support for her three enlisted brothers and immersed herself in the war effort. When hostilities ceased, she travelled to Paris studying at the acclaimed Académie Colarossi and took classes with Ethel Carrick. On her return to Brisbane, she rapidly became known for her fresh and vividly executed paintings and watercolours, her intention being to ‘bring home everything she learnt in Europe… she gave much to her fellow artists and students in Brisbane. This included administrative work and teaching, as well as proselytising the virtues of art as an educational tool.’1 However, she soon became exhausted as a result of these efforts and the lingering effects of the war, so readily accepted Lovett’s invitation to stay with her for a few weeks in late 1921 – a relocation which eventually stretched to 1923. The two women, who had known each other since 19142, exhibited together in 1923, and Lahey was to return to Tasmania at least twice more between 1923 and 1928, exhibiting with the Art Society of Tasmania both times. Of the two other views of Customs House that Lahey painted in 1923 and 1929, her approach is more traditional, exploring ‘the effects of light and colour with a substantial stone pile.’3 In the work on offer here, Customs House, Hobart, c.1928, Lahey has moved positions to take in the eastern side of the building, as seen from the farther side of Victoria Dock.4 In the same vein as her Italian paintings, she portrays ‘boats on water with architectural backgrounds… seen against high horizon lines’5, in this case, the imposing Mt Wellington (Kunanyi). Behind the building’s ribbed dome, the prominent General Post Office clock tower may also be seen. 1. Gorman, C. and Gorman, T., Intrépide: Australian women artists in early Twentieth Century France, Monash University Publishing, Melbourne, 2020, p. 95 2. See Holmes, J., Mildred Lovett 1880 – 1955: a survey, University Fine Arts Gallery, Hobart, 1989 3. MacAulay, B., Songs of Colour. The Art of Vida Lahey, Works Located to 1989, Queensland Art Gallery, Brisbane, 1989, p. 49 4. The Tasmanian Museum and Art Gallery took over the building in 1990. 5. MacAulay, op. cit., p. 57 ANDREW GAYNOR
Deutscher and Hackett
Jul. 20, 2026
FRANCES VIDA LAHEY, Australia (1882 - 1968), Lake In Northern Italy, oil on canvas on board, 18 x 24 cm. (7.08 x 9.44 in.), frame: 39 x 45 x 5 cm. (15.34 x 17.71 x 1.97 in.)
Est: $2,000 - $3,000
FRANCES VIDA LAHEY Australia, (1882 - 1968) Lake In Northern Italy oil on canvas on board inscribed verso: Vida Lahey / Lake In Northern Italy signed lower right: F. V. LAHEY
Lawsons
May. 07, 2026
VIDA LAHEY (1882-1968), Still Life with Book and Drape
Est: $4,000 - $6,000
PROPERTY FROM A PRIVATE COLLECTION, QUEENSLAND VIDA LAHEY (1882-1968) Still Life with Book and Drape watercolour on paper 29.5 x 28.5 cm; 58.0 x 56.0 cm (framed) signed lower right: VIDA LAHEY
Menzies
Apr. 29, 2026
Vida Lahey, Bauhinia in bloom, Brisbane, 1929
Est: $40,000 - $60,000
Vida Lahey (1882 - 1968) Bauhinia in bloom, Brisbane, 1929 oil on canvas on composition board 36.0 x 31.0 cm signed lower right: V LAHEY signed and inscribed with title on label verso: ... / Brisbane / Vida Lahey / Corinda Brisbane PROVENANCE Mrs Harry Southwell Edna O'Sullivan, by 1989 Private collection, Melbourne Thence by descent Private collection, Melbourne EXHIBITED Vida Lahey: Oils and watercolours, Gainsborough Gallery, Brisbane, 16 May - 6 June 1929, cat. 1 Paintings by Vida Lahey, The Macquarie Galleries, Sydney, 18 - 28 September 1929, cat. 13 Paintings by Miss Vida Lahey: from seashore and garden, Everyman’s Lending Library, Melbourne, 24 October – 4 November 1933, cat. 5 Exhibition of paintings of Brisbane and of other things, Union Trustee Chambers, Brisbane, 20 May – 6 June 1936, cat. 4 LITERATURE 'Art of Miss Lahey: Oils and Water Colours [sic]', The Brisbane Courier, Brisbane, 16 May 1929, p. 24 'Art Exhibition. Miss Lahey's Paintings', The Sydney Morning Herald, Sydney, 19 September 1929, p. 10 MacAulay, B., Supplement to Songs of Colour. The Art of Vida Lahey, Works Located to 1989, Queensland Art Gallery, Brisbane, 1989, pp. 6, 30, 31, 37 ESSAY Vida Lahey’s Bauhinia in bloom, Brisbane, 1929, shows a scene located on Gregory Terrace in Brisbane, a long stretch of road facing parklands.1 In the 1920s and 1930s, the Terrace was home to numbers of the now-iconic raised ‘Queenslander’ houses similar to the one pictured here. The precinct was also home to the Exhibition Building and Concert Hall, built 1891, which housed a modest art gallery to which Lahey was closely connected. Indeed, in 1931, when a new gallery was built within the former Concert Hall, Lahey and her close friend and colleague, the sculptor Daphne Mayo, were honoured by having key examples of their work placed at the entrance, ‘a remarkable testament to the high standing these women had won.’2 In Lahey’s case, it was her powerful and immensely popular painting Monday morning, 1912 (Queensland Art Gallery I Gallery of Modern Art, Brisbane), an honest appraisal of her sister and another woman at work in the family laundry. Lahey was the eldest of twelve children but shared her younger brother Romeo’s ‘interests in planning and environmental issues. In the 1920s and early 1930s, (she) painted as many scenes of industry and civic construction as women in social, work and leisure settings. Both men and women display the dignity of labour and service.’3 Whilst Monday morning illuminated domestic labour, the focus of Bauhinia in bloom, Brisbane is the flipside – a relaxed outdoor stroll with young children. Bauhinia trees are a feature of the city, blooming typically from October through to December alongside the purple of Jacarandas and the vivid red-orange of Flame trees. Given its location, it is likely this Bauhinia was one she saw regularly as she commuted between the gallery and her studio. Through such details, her paintings have become important matters of record regarding Brisbane’s changing architecture, heritage and flora, with two other key examples being (Carts in Eagle Street), c.1913, and Early morning, Brisbane River, 1932 ( Important Women Artists + Selected Important Australian and International Fine Art, Deutscher and Hackett, Melbourne, 10 November 2021, lots 6 and 7 respectively). Whilst this particular Queenslander no longer stands on Gregory Terrace, Lahey’s painting has captured it and its personal Bauhinia for posterity. The season is likely to be early Spring when the fragrant flowers are most profuse, but whose petals have yet to carpet the footpath below. The figures are all bundled in Sunday-best coats and the woman at left holds an umbrella as, despite the brilliance of the blue sky, a recent heavy shower has left the road surface wet and reflective. The bright colour and post-Impressionist brushwork is lively, reminiscent of her friend Ethel Carrick Fox’s paintings, with whom Lahey studied at Colarossi’s atelier in Paris in 1919. Lahey was often noted for her ‘really beautiful sense of colour’4, and indeed, when Bauhinia in bloom, Brisbane was exhibited in Brisbane, Sydney and Melbourne, a number of critics singled it out for praise. The Sydney Morning Herald’s reviewer, however, went further by highlighting Lahey’s technical virtuosity, noting that the whole scene revolved around ‘the riot of pink blossom, to which the remainder of the picture is artistically keyed, (and) is treated with great delicacy.’5 1. Gregory Terrace is identified as the location in the catalogue for: Exhibition of paintings of Brisbane and of other things, Union Trustee Chambers, Brisbane, 1936 2. McGuire, M. E., All things opposite: essays on Australia art, Champion, Melbourne, 1995, p. 108 3. MacAuley, B., Vida Lahey: paintings and watercolours, Philip Bacon Galleries, Brisbane, 2012 4. Howard Ashton, cited in: ‘Tasmanian pictures. Exhibition in Sydney. Miss Vida Lahey’s work’, The Mercury, Hobart, 4 September 1926, p. 11 5. 'Art Exhibition. Miss Lahey's Paintings', The Sydney Morning Herald, Sydney, 19 September 1929, p. 10 ANDREW GAYNOR
Deutscher and Hackett
Apr. 20, 2026
Vida LAHEY (1882-1968) A still-life of white roses and fuschias in a glass vase Watercolour over traces of pencil 39 x 37cm
Est: $18,000 - $20,000
Vida LAHEY (1882-1968) A still-life of white roses and fuschias in a glass vase Watercolour over traces of pencil Signed lower right: V.LAHEY 39 x 37cm PROVENANCE: Private collection Joseph Brown Gallery, Melbourne The CBUS Collection of Australian Art, Melbourne, acquired from the above on 15 April 1991 Deutscher and Hackett, 100 Highlights from the CBUS Collection of Australian Art, Melbourne, 27 July 2022, lot 94, purchased by the vendor EXHIBITIONS: Wollongong City Gallery, The BUS Collection of Australian Art, 16 March-12 April 1992, cat. 13 Benalla Art Gallery, Colour and Movement, 19 February-9 June 2015 Latrobe Regional Gallery, Arrangement, Morwell, Victoria, 26 May-8 July 2018 On long-term loan to Latrobe Regional Gallery, Morwell, Victoria LITERATURE: B. Nainby, Z. Stanhope, and K. Furlonger (eds), The CBUS Collection of Australian Art, Advised by Joseph Brown (2009), p. 55 (illus.)
Leonard Joel
Oct. 30, 2025
VIDA LAHEY (1882-1968) Still Life oil on canvas 42.5 x 101cm; frame size: 46 x 104cm
Est: $3,000 - $5,000
VIDA LAHEY (1882-1968) Still Life oil on canvas signed lower left: F.V. Lahey 42.5 x 101cm; frame size: 46 x 104cm PROVENANCE: Leonard Joel, Melbourne, 25 November 1992, lot 16 Private collection, Canberra Menzies, Melbourne, 11 December 2014, lot 181 Private collection, Melbourne Leonard Joel, Melbourne, 12 October 2017, lot 22 Private collection, Adelaide
Leonard Joel
Oct. 23, 2025
VIDA LAHEY (1882-1968) Still Life oil on canvas 42.5 x 101cm; frame size: 46 x 104cm
Est: $3,500 - $5,500
VIDA LAHEY (1882-1968) Still Life oil on canvas signed lower left: F.V. Lahey 42.5 x 101cm; frame size: 46 x 104cm PROVENANCE: Leonard Joel, Melbourne, 25 November 1992, lot 16 Private collection, Canberra Menzies, Melbourne, 11 December 2014, lot 181 Private collection, Melbourne Leonard Joel, Melbourne, 12 October 2017, lot 22 Private collection, Adelaide
Leonard Joel
Oct. 16, 2025
VIDA LAHEY (1882-1968) Still Life oil on canvas 42.5 x 101cm; frame size: 46 x 104cm
Est: $4,000 - $6,000
VIDA LAHEY (1882-1968) Still Life oil on canvas signed lower left: F.V. Lahey 42.5 x 101cm; frame size: 46 x 104cm PROVENANCE: Leonard Joel, Melbourne, 25 November 1992, lot 16 Private collection, Canberra Menzies, Melbourne, 11 December 2014, lot 181 Private collection, Melbourne Leonard Joel, Melbourne, 12 October 2017, lot 22 Private collection, Adelaide
Leonard Joel
Sep. 22, 2025
VIDA LAHEY (1882-1968) Summer Afternoon, Near Hobart c.1926 oil on canvasboard 31 x 37.5cm
Est: $10,000 - $15,000
VIDA LAHEY (1882-1968) Summer Afternoon, Near Hobart c.1926 oil on canvasboard signed lower right: F. V. Lahey 31 x 37.5cm PROVENANCE: Leonard Joel, Melbourne, 25 March 2014, lot 13 Private collection, Melbourne Menzies, Melbourne, 21 September 2016, lot 8 The Collection of Mr Geoffrey Villiers Lahey, Melbourne
Leonard Joel
Sep. 22, 2025
VIDA LAHEY (1882-1968) Still Life oil on canvas 42.5 x 101cm
Est: $5,000 - $6,000
VIDA LAHEY (1882-1968) Still Life oil on canvas signed lower left: F.V. Lahey 42.5 x 101cm PROVENANCE: Leonard Joel, Melbourne, 25 November 1992, lot 16 Private collection, Canberra Menzies, Melbourne, 11 December 2014, lot 181 Private collection, Melbourne Leonard Joel, Melbourne, 12 October 2017, lot 22 Private collection, Adelaide
Leonard Joel
Sep. 22, 2025
VIDA LAHEY (1882-1968) Brisbane to Southbank c.1930 oil on plywood 24.5 x 29.5cm
Est: $40,000 - $50,000
VIDA LAHEY (1882-1968) Brisbane to Southbank c.1930 oil on plywood signed lower right: V. Lahey 24.5 x 29.5cm PROVENANCE: The Collection of Dr V.N.B. Willis, Queensland Gift from the above to Mrs Conde, Queensland Thence by descent Private collection, Queensland Private collection, Queensland Menzies, Sydney, 23 September 2014, lot 89 The Collection of Mr Geoffrey Villiers Lahey, Melbourne OTHER NOTES: Brisbane in the 1930s was a city in transition, its civic architecture and riverside vistas gradually defining a distinctive urban character. For artists, the city offered a blend of neoclassical government buildings, timber houses scattered across hillsides, and the ever-present curve of the river. To stand on South Bank and look across the water was to see Parliament House and its neighbouring offices rising in quiet dignity above the shoreline. Like a window into the past, part of the joy in encountering Lahey's city views today lies in identifying the landmarks that remain and recognising how her vision imbued them with atmosphere and meaning. Vida Lahey was among the first painters to turn sustained attention to Brisbane as a subject matter. At a time when many painters sought inspiration in European models or pastoral landscapes, she showed that her own surroundings could be just as compelling. Her paintings transform the seemingly ordinary into lyrical compositions, where shifting light on water and the geometry of civic buildings are rendered with clarity and warmth. "…She has caught the atmosphere of Brisbane and Queensland, which she knows so well. In truly remarkable blending's of light and colour, which have resulted in some really wonderful achievements"(1) Trained in Brisbane, Melbourne and later in Europe, Lahey brought an international sensibility back to Queensland. Her impressionist technique, quick and luminous brushstrokes, subtle harmonies of colour, and a sensitivity to light, found fresh application in her city views of the 1930s. Works such as 'Brisbane to Southbank' c.1930, Lahey transforms a familiar view into a luminous tribute to the city she loved. In these canvases, Brisbane is not merely recorded but idealised, its presence on the riverbank made radiant through her eye. Lahey's prominence extended beyond her own painting practice. She was a founding member of the Queensland Art Fund and one of the most influential advocates for the Queensland Art Gallery in the first half of the twentieth century. Her pioneering children's art classes in the 1930s testified to her belief in the social value of creative education, and her public advocacy ensured that art was seen as integral to community life. Through these roles she became one of Queensland's most respected cultural figures, shaping both the way the city was represented and the way the public engaged with art. 'Brisbane to Southbank' exemplifies her achievement. The painting captures a recognisable corner of the city at a moment of growth, yet distils it into a composition alive with colour, reflection and atmosphere. In its balance of realism and idealisation, it encapsulates Vida Lahey's vision as an artist who made her surroundings luminous, and in doing so secured her place as one of Queensland's most significant women artists. Hannah Ryan Senior Art Specialist (1) Bonsey, N., 'Vida Lahey's Ditchling View', Daily Standard, Brisbane, 9 June 1936, p. 4
Leonard Joel
Sep. 22, 2025
VIDA LAHEY (1882-1968) Washer Women 1920 watercolour and pencil on paper 22 x 19cm
Est: $1,000 - $2,000
VIDA LAHEY (1882-1968) Washer Women 1920 watercolour and pencil on paper signed and dated lower right: J V Lahey 1920 22 x 19cm PROVENANCE: Adam Galleries, Melbourne (label verso) Private collection, Melbourne
Leonard Joel
Sep. 18, 2025
VIDA LAHEY, Australia (1882 - 1968), Two Vases of Flowers; Still Life (double-sided), watercolour, 20 x 24 cm. (7.8 x 9.4 in.), frame: 41 x 45 x 3 cm. (16.1 x 17.7 x 1.1 in.)
Est: $2,000 - $3,000
VIDA LAHEY Australia, (1882 - 1968) Two Vases of Flowers; Still Life (double-sided) watercolour signed lower left: VIDA LAHEY
Lawsons
Nov. 21, 2024
FRANCES VIDA LAHEY, (1882 - 1968), Floral Still Life, watercolour, 38.5 x 24.5 cm. (15.1 x 9.6 in.), frame: 63 x 47 x 2 cm. (24.8 x 18 1/2 x 0.7 in.)
Est: $2,000 - $3,000
FRANCES VIDA LAHEY (1882 - 1968) Floral Still Life watercolour signed lower left: V. Lahey
Lawsons
Nov. 20, 2024
VIDA LAHEY (1882-1968), Wattle and Ifafa Lilies 1956
Est: $10,000 - $15,000
PROPERTY FROM A PRIVATE COLLECTION, MELBOURNE VIDA LAHEY (1882-1968) Wattle and Ifafa Lilies 1956 oil on board 45.0 x 35.0 cm; 59.0 x 49.0 cm (framed) signed and dated lower right: V.LAHEY./ 56.
Menzies
Oct. 24, 2024
VIDA LAHEY (1882-1968) White Daisies in Brown Bowl oil on canvas 49.5 x 29.5cm
Est: $2,200 - $3,200
VIDA LAHEY (1882-1968) White Daisies in Brown Bowl oil on canvas signed lower right: F. V Lahey artist's name and title on gallery label verso 49.5 x 29.5cm PROVENANCE: Riverhouse Galleries, Brisbane (label verso) Private collection, Melbourne
Leonard Joel
Oct. 17, 2024
VIDA LAHEY (1882-1968) White Daisies in Brown Bowl oil on canvas 49.5 x 29.5cm
Est: $2,500 - $3,500
VIDA LAHEY (1882-1968) White Daisies in Brown Bowl oil on canvas signed lower right: F. V Lahey artist's name and title on gallery label verso 49.5 x 29.5cm PROVENANCE: Riverhouse Galleries, Brisbane (label verso) Private collection, Melbourne
Leonard Joel
Oct. 17, 2024
§ VIDA LAHEY (1882-1968) Still Life in Glass Vase watercolour and gouache on paper 32 x 33cm
Est: $1,500 - $2,000
§ VIDA LAHEY (1882-1968) Still Life in Glass Vase watercolour and gouache on paper signed verso: V. LAHEY 32 x 33cm PROVENANCE: Davidson Auctions, Sydney, 8 October 2023, lot 294 Private collection, South Australia
Leonard Joel
Sep. 23, 2024
VIDA LAHEY (1882-1968) Vegetable Still Life c.1907 oil on canvas 55 x 90.5cm
Est: $10,000 - $15,000
VIDA LAHEY (1882-1968) Vegetable Still Life c.1907 oil on canvas signed lower right: F. V. LahEy artist's name inscribed on partial exhibition label verso 55 x 90.5cm PROVENANCE: Private collection, Brisbane Thence by descent EXHIBITIONS: First Australian Exhibition of Women's Work, Exhibition Building, 23 October - 20 November 1907 OTHER NOTES: In 1906 the Governor-General's wife, Lady Alice Northcote announced the intention of holding an 'Australian Exhibition of Women's Work', and at the time few people realised how the movement would expand, becoming greatly important to the whole continent. Progressing the movement, Lady Northcote formed strong general committees in appointing each state Governor General's wife to form bodies in their state, ensuring that the exhibition was given every possible publicity until the attention of Australian women as a whole country was attracted. Special efforts were made in involve country and suburban women in the exhibition plans, to give these women the same opportunities for showing their work. Each state selected the best works to be shown in Melbourne. The 'Australian Exhibition of Women's Work' officially opened in 1907 at the Exhibition Building in Melbourne, bringing together thousands of visitors. The exhibition was divided into various categories, including fine art, photography, needlework, musical, cookery, amongst others. The Fine Art selection was further sub-categorised into genres and mediums, making it available to all artists to exhibit. Among the notable participants was Miss F. V. Lahey, a prominent Queensland artist, who entered multiple Fine Art categories, including, Flower Painting, Still Life Painting, and Australian Landscape. Vida Lahey's entries, particularly her still life painting, garnered high praise. Her celebrated work, a meticulously detailed portrayal of an overturned kitchen basket brimming with pumpkins, onions, and other household vegetables, captivated judges, and audiences alike. "Miss F. V. Lahey has had three placed - "Niphetos Roses" whose white petals look sufficiently lifelike to possess a delicate perfume (this work has received great praise from all the artistic members of the different committees); a "Shady Pool", a cool and quiet spot for lovers on a hot sunny day; and last, but not least, a very domestic kitchen basket filled with pumpkins, onions, and other serviceable vegetables, which reminds one of the family's weekly supply from "John", and which on no account could belong to a small family." (Australian Women's Exhibition in Melbourne, The Queenslander, Brisbane, 2 November 1907, p. 7) The 'Australian Exhibition of Women's Work' not only showcased the artistic talents of women from across the nation, but also underscored the growing importance of women's contributions to the cultural landscape of Australia. In celebrating the exhibitions centenary, the Castlemaine Art Gallery and Historical Museum developed a significant exhibition and catalogue to highlight the 'Australian Exhibition of Women's Work' event, bringing together a selection of pieces across all mediums and emphasise the historical significance of once was in 1906. Hannah Ryan Art Specialist
Leonard Joel
Sep. 23, 2024
§ VIDA LAHEY (1882-1968) Still Life in Glass Vase watercolour and gouache on paper 32 x 33cm
Est: $2,000 - $3,000
§ VIDA LAHEY (1882-1968) Still Life in Glass Vase watercolour and gouache on paper signed verso: V. LAHEY 32 x 33cm PROVENANCE: Davidson Auctions, Sydney, 8 October 2023, lot 294 Private collection, South Australia
Leonard Joel
Sep. 23, 2024
VIDA LAHEY (1882-1968) White Daisies in Brown Bowl oil on canvas 49.5 x 29.5cm
Est: $3,000 - $5,000
VIDA LAHEY (1882-1968) White Daisies in Brown Bowl oil on canvas signed lower right: F. V Lahey artist's name and title on gallery label verso 49.5 x 29.5cm PROVENANCE: Riverhouse Galleries, Brisbane (label verso) Private collection, Melbourne
Leonard Joel
Sep. 18, 2024
Frances Vida Lahey (Australian, 1882-1968)
Est: £200 - £400
Frances Vida Lahey (Australian, 1882-1968) View of a timber sawmill with horse-drawn wagon signed lower right ‘F.V. Lahey’ watercolour on board, unframed, the reverse bearing the trade label of ‘George Gough and Son, Albert Street, Brisbane, Also at Valley Corner’ 27 x 35cm An early work by the artist, possibly depicting the Lahey timber company sawmill at Canungra, circa 1913.
Cheffins
Aug. 21, 2024
§ VIDA LAHEY 1882-1968 Vermillion and Blue 1932 watercolour and gouache over pencil on paper on cardboard 55 x 65.5 cm frame: original,
Est: $20,000 - $30,000
§ VIDA LAHEY 1882-1968 Vermillion and Blue 1932 watercolour and gouache over pencil on paper on cardboard signed and dated ‘V. LAHEY. 32' lower right 55 x 65.5 cm frame: original, maker unknown, Brisbane PROVENANCE Vida Lahey, Brisbane The Fine Arts Society's Gallery, Melbourne Private Collection, Melbourne Private Collection, Melbourne, acquired from the above EXHIBITED Exhibition of Paintings by Miss Vida Lahey, The Fine Arts Society's Gallery, Melbourne, 19-31 October 1932, no. 22, 35 gns LITERATURE Blamire Young, ‘Great Colorist. Art of Miss Vida Lahey', The Herald, Melbourne, 18 October 1932, p. 17 Arthur Streeton, ‘Miss Vida Lahey's Art. Olis and Water-Colours. Distinguished Flower-Painting', The Argus, Melbourne, 19 October 1932, p. 5 ‘A Brisbane Artist. The Art of Vida Lahey', The Age, Melbourne, 19 October 1932, p. 11 ‘Vida Lahey's Art. Distinguished Flower Painting', The Brisbane Courier, Brisbane, 22 October 1932, p. 14 Harold Herbert, ‘Art. Miss Vida Lahey', The Australasian, Melbourne, 29 October 1932, p. 16
Smith & Singer
May. 08, 2024
Vida Lahey- Still Life, oil on canvas, 50x29cm, signed lower right
Est: $2,700 - $3,500
Vida Lahey- Still Life, oil on canvas, 50x29cm, signed lower right
Christian McCann Auctions
Mar. 24, 2024
Vida Lahey- Still Life, oil on canvas, 50x29cm, signed lower right
Est: $4,000 - $6,000
Vida Lahey- Still Life, oil on canvas, 50x29cm, signed lower right
Christian McCann Auctions
Mar. 21, 2024
VIDA LAHEY, England, Australia (1882 - 1968), Village in Essex, Kersey, oil on canvas, 39.5 x 44 cm. (15.5 x 17.3 in.), frame: 51 x 56 x 6 cm. (20.0 x 22.0 x 2.3 in.)
Est: $4,000 - $6,000
VIDA LAHEY England, Australia, (1882 - 1968) Village in Essex, Kersey oil on canvas signed lower right
Lawsons
Oct. 08, 2023
LAHEY Frances Vida (1882-1968), Flowers in Crystal Vase, W/Clr, 31.5x32.5cm
Est: $1,000 - $2,000
LAHEY, Frances Vida (1882-1968) Flowers in Crystal Vase Signed verso. W/Clr 31.5x32.5cm
Davidson Auctions
Sep. 18, 2023
§ VIDA LAHEY (1882-1968) White Roses c.1937 watercolour on paper 30 x 35cm
Est: $2,800 - $3,800
§ VIDA LAHEY (1882-1968) White Roses c.1937 watercolour on paper signed lower right: V.LAHEY 30 x 35cm PROVENANCE: Private collection, Adelaide Scammells Auctions, Adelaide, 27 March 2023, lot 217 Private collection, Brisbane EXHIBITIONS: Exhibition of Water Colours, The Macquarie Galleries, Sydney, June, 1937, cat. no. 11 Exhibition of Paintings, The Canberra Gallery, Canberra Hotel, Brisbane, 9 – 25 November 1944, cat. no. 63 John Martin's Art Gallery, Adelaide, 2 – 15 June 1948, cat. no. 27
Leonard Joel
Jun. 15, 2023
FRANCES VIDA LAHEY (1882 - 1968) White Daisies in Brown Bowl, c1908 - 1914 oil on canvas 49.5 x 29.5 cm (frame: 70 x 49 x 5 cm) sign...
Est: $4,000 - $6,000
FRANCES VIDA LAHEY (1882 - 1968) White Daisies in Brown Bowl, c1908 - 1914 oil on canvas 49.5 x 29.5 cm (frame: 70 x 49 x 5 cm) signed lower right; Riverhouse Galleries label verso | Exhibited at Queensland Art Gallery
Lawsons
Apr. 04, 2023
Vida Lahey (1882-1968) Still Life with Flowers
Est: $3,000 - $5,000
Vida Lahey (1882-1968) (Still Life with Flowers) signed lower right: V LAHEY watercolour on paper 25.5 x 30.0cm (10 1/16 x 11 13/16in).
Bonhams
Feb. 26, 2023
Frances Vida Lahey (1882-1968) Roses oil on board signed lower right
Est: $10,000 - $15,000
Frances Vida Lahey (1882-1968) Roses oil on board signed lower right
Artvisory
Oct. 04, 2022
VIDA LAHEY (1882-1968) The Green Vase watercolour on paper
Est: $800 - $1,200
VIDA LAHEY (1882-1968) The Green Vase watercolour on paper signed lower right: V.Lahey 34.5 x 24cm PROVENANCE: Private collection Lawsons, Sydney, 27 August 1985, lot 255 Private collection, Melbourne
Leonard Joel
Aug. 23, 2022
Vida Lahey (1882-1968) Bougainvillea, Canungra, 1926
Est: $10,000 - $15,000
Vida Lahey (1882-1968) Bougainvillea, Canungra, 1926 signed lower right: 'V. LAHEY' oil on canvas on board 21.5 x 29.0cm (8 7/16 x 11 7/16in). For further information on this lot please visit the Bonhams website
Bonhams
Jul. 27, 2022
VIDA LAHEY, STILL LIFE WITH FUCHSIAS, C.1930
Est: $4,000 - $6,000
VIDA LAHEY (1882 - 1968) STILL LIFE WITH FUCHSIAS, c.1930 watercolour on paper 39.0 x 37.0 cm signed lower right: V. LAHEY. PROVENANCE Private collection Joseph Brown Gallery, Melbourne The Cbus Collection of Australian Art, Melbourne, acquired from the above on 15 April 1991 EXHIBITED The Bus Collection of Australian Art, Wollongong City Gallery, New South Wales, 16 March – 12 April 1992, cat. 13 (as ‘Fuschias, c.1920) Colour and Movement, Benalla Art Gallery, Victoria, 19 February – 9 June 2015 Arrangement, Latrobe Regional Gallery, Victoria, 26 May – 8 July 2018 on long term loan to Latrobe Regional Gallery, Victoria LITERATURE Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, pp. 55 (illus.), 223
Deutscher and Hackett
Jun. 29, 2022
VIDA LAHEY (1882-1968), Brisbane from South Bank c1930
Est: $40,000 - $50,000
VIDA LAHEY (1882-1968) Brisbane from South Bank c1930 oil on plywood 24.5 x 29.5 cm signed lower right: V. LAHEY.
Menzies
Apr. 12, 2022
§ VIDA LAHEY 1882-1968 A Flower Study (circa 1924) oil on board
Est: $10,000 - $15,000
§ VIDA LAHEY 1882-1968 A Flower Study (circa 1924) oil on board signed 'V.L.' lower right 35 x 30.5 cm frame: original, maker unknown, Brisbane PROVENANCE Vida Lahey, Brisbane Private Collection, Melbourne Private Collection, Melbourne, by descent from the above Fine Art, Leonard Joel, Melbourne, 17 March 2020, lot 1, 'Still Life', illustrated Private Collection, Melbourne, acquired from the above EXHIBITED (Possibly) Annual Exhibition, Art Society of Tasmania, Masonic Hall, Hobart, 4-14 March 1925, no. 54, 10 gns (Possibly) Annual Exhibition, Australian Art Association, Athenaeum Hall, Melbourne, 27 August - 11 September 1925 LITERATURE (Possibly) 'Society's Splendid Hanging. Pictures of High Merit', The News, Hobart, 4 March 1925, p. 1 (Possibly) 'Exhibition of Pictures. Works by Australian Artists', The Argus, Melbourne, 27 August 1925, p. 15 (Possibly) 'By Australian Artists', The Australasian, Melbourne, 29 August 1925, p. 45
Smith & Singer
Apr. 12, 2022
§ VIDA LAHEY 1882-1968 Silence (1945) oil on canvasboard
Est: $25,000 - $35,000
§ VIDA LAHEY 1882-1968 Silence (1945) oil on canvasboard signed 'F.V. LAHEY' lower right; inscribed '"Silence" / by Vida Lahey / Canungra Creek' verso 66 x 56 cm frame: original, maker unknown, Brisbane PROVENANCE Vida Lahey, Brisbane Private Collection, Melbourne Private Collection, Melbourne, by descent from the above Fine Art, Leonard Joel, Melbourne, 17 March 2020, lot 175, illustrated Private Collection, Melbourne, acquired from the above EXHIBITED Vida Lahey: Exhibition of Recent Paintings, Finney's Art Gallery, Brisbane, 27 June - 12 July 1946, no. 14, 40 gns LITERATURE 'Watercolours by Vida Lahey', The Courier-Mail, Brisbane, 27 June 1946, p. 2 'Vida Lahey's Paintings', The Telegraph, Brisbane, 27 June 1946, p. 8 'A Vida Lahey Exhibition', Queensland Country Life, Brisbane, 4 July 1946, p. 7
Smith & Singer
Apr. 12, 2022
VIDA LAHEY 1882-1928 Morning at Seven (1907) oil on canvas
Est: $8,000 - $12,000
VIDA LAHEY 1882-1928 Morning at Seven (1907) oil on canvas signed 'F.V. Lahey.' lower right; inscribed 'Morning' at seven' verso 41 x 25.5 cm PROVENANCE Vida Lahey, Brisbane George Nicholas Trovas, Queensland E. Trovas, Queensland, by descent from the above Private Collection, Queensland, by descent from the above Important Fine Art, Deutscher and Hackett, Sydney, 2 December 2015, lot 115, illustrated Private Collection, Melbourne, acquired from the above EXHIBITED 20th Annual Exhibition, Queensland Art Society, Technical College Hall, Brisbane, 6 October 1908, no. 11, 3 gns Winter Exhibition, Victorian Artists' Society, Melbourne, Melbourne, 16 July 1909, no. 107, 3 gns Songs of Colour: The Art of Vida Lahey, Queensland Art Gallery, Brisbane, 14 April - 25 June 1989, illustrated LITERATURE 'The Queensland Art Society', Truth, Brisbane, 11 October 1908, p. 8 Bettina MacAulay, Songs of Colour: The Art of Vida Lahey, Queensland Art Gallery, Brisbane, 1989, p. 94 (illustrated) Bettina MacAulay, Supplement to Songs of Colour: The Art of Vida Lahey, Queensland Art Gallery, Brisbane, 1989, pp. 1-2
Smith & Singer
Nov. 10, 2021
VIDA LAHEY, EARLY MORNING, BRISBANE RIVER, 1932
Est: $25,000 - $35,000
VIDA LAHEY (1882 - 1968) EARLY MORNING, BRISBANE RIVER, 1932 oil on canvas on board 51.5 x 76.5 cm signed and dated lower right: V. LAHEY 32 PROVENANCE The Canberra Gallery, Brisbane Dr Thomas Montagu Mansfield, Brisbane Thence by descent Sally, Lady Croft, Armidale, New South Wales Thence by descent Private collection, New South Wales EXHIBITED Exhibition of Paintings by Vida Lahey, Fine Art Society’s Gallery, Melbourne, 19 – 31 October 1932, cat. 2 Vida Lahey: Exhibition of Paintings of Brisbane and of Other Things, Union Trustee Chambers, Brisbane, 20 May – 3 June 1936, cat. 16 (as ‘Early Morning’) Vida Lahey: Exhibition of Paintings, The Canberra Gallery, Brisbane, 9 – 25 November 1944, cat. 16 LITERATURE Young, B., ‘Great colourist: the art of Miss Vida Lahey’, The Herald, Melbourne, 18 October 1932, p. 1 Herbert, H., ‘A Brisbane Artist’, The Age, Melbourne, 19 October 1932, p. 11 ‘Vida Lahey’s Art’, The Brisbane Courier, Brisbane, 22 October 1932, p. 14 ‘Vida Lahey’s Art’, The Telegraph, Brisbane, 20 May 1936, p. 7 ‘Fine Work in 1-Woman Show’, The Telegraph, Brisbane, 8 November 1944, p. 8 MacAulay, B., Supplement to Songs of Colour. The Art of Vida Lahey, Works Located to 1989, Queensland Art Gallery, Brisbane, 1989, pp. 9, 34, 37, 40 ESSAY We are grateful to Joanna Bosse, Curator, Bayside Gallery, and her Queensland colleagues for their assistance with this catalogue entry. Vida Lahey’s exhibition at the Fine Arts Society’s Gallery in Melbourne in 1932 featured seventeen oil paintings, the second largest of which was Early morning, Brisbane River, 1932. It was an immediate hit with the critics. Harold Herbert, writing for The Age, considered the painting to be an oil of ‘high order ... an admirably painted stretch of land and blue water, spacey in conception, and simple yet convincing in treatment.’1 Blamire Young, in his review for The Herald, described Lahey as a ‘great colourist’, and that her evocation of the early morning riverscape was marked by its ‘pure light and the hush of dawn.’2 Arthur Streeton was also an admirer of the ‘fine qualities of light and air’ in her work,3 as was George Bell who considered her to be ‘an artist of consummate taste, an exquisite sense of colour, and a fine sense of composition.’4 Lahey was not only a celebrated artist; she was also a noted author, educator and arts advocate, conferred a Member of the Order of the British Empire (MBE) in 1958 for her services to culture and the arts in Queensland. An early talent, she was awarded first prize for landscape by the Australian Natives’ Association, Brisbane in 1903, before she moved to Melbourne to commence formal studies at the National Gallery Art School in 1905. Two years later, whilst still a student, she won first prize for still life in the landmark First Australian Exhibition of Women’s Work held at the Exhibition Building. However, it was the painting Monday morning, 1912, which really launched her career, a powerful study of two young women labouring in the Lahey family’s household laundry. It entered the collection of the Queensland Art Gallery that same year. The outbreak of war saw her travel to London and at its conclusion, she took classes in Paris in 1919, first at the Académie Calorossi, then with Ethel Carrick Fox; and in St. Ives the following year with New Zealand artist Frances Hodgkins. The 1920s saw further travels through Europe before Lahey settled permanently in Queensland in 1929. In Early morning, Brisbane River, 1932, the artist captures a sparkling image of an urban river landscape in its heyday. To the right can be seen the old Naval Stores which still stand on the site of a former quarry, the scars of which are evident in the adjacent cliffs. Across the water lies a glimpse of the Brisbane City Botanic Gardens buttressing the former Eagle Street wharves, one of the city’s busiest locations in the 1930s. Characterised by its ‘picturesque personality of salt seas and sailor men’,5 Eagle Street’s row of low sheds marked the locations of Raff’s Wharf, Newton’s Wharf and Barkers Wharf. Presiding over these was a streetscape of multi-storey warehouses once described as being ‘probably, as a group, the best in Brisbane.’6 These architectural symbols of trade and prosperity included Harpers Building (1889); the Mutual Life Association of Australasia (1888); and Parbury’s (1912); with the tallest and newest being the Orient Steam Navigation Company headquarters (1930). Sadly, all were swept away by building booms in the 1960s and early 1980s. 1. Herbert, H., ‘A Brisbane artist: The art of Vida Lahey’, The Age, 19 October 1932, p. 11 2. Young, B., ‘Great colourist: the art of Miss Vida Lahey’, The Herald, Melbourne, 18 October 1932, p. 1 3. Streeton, A., ‘Miss Vida Lahey’s art: oils and watercolours. Distinguished flower painting’, Argus, Melbourne, 19 October 1932, p. 5 4. George Bell. Quoted on catalogue for: Vida Lahey: Exhibition of Paintings of Brisbane and of Other Things, Union Trustee Chambers, Brisbane, 1936 5. ‘Growing City. Romance and Adventure: Street of Adventure’, Courier-Mail, Brisbane, 26 September 1933, p. 12 6. ‘Real Estate. Queensland Trustees: Building extensions’, The Daily Mail, Brisbane, 14 October 1924, p. 14 ANDREW GAYNOR
Deutscher and Hackett
Nov. 10, 2021
VIDA LAHEY, (CARTS IN EAGLE STREET), c.1913
Est: $40,000 - $60,000
VIDA LAHEY (1882 - 1968) (CARTS IN EAGLE STREET), c.1913 oil on board 39.5 x 49.5 cm signed lower right: F. V LAHEY PROVENANCE Possibly: James Herbert Forrest, Charters Towers, Queensland Thence by descent The estate of Michael Forrest, Melbourne E. J. Ainger Pty Ltd, Melbourne, 1 August 2021, lot 242 (as ‘European Street Scene with Horses’) Company collection, Sydney EXHIBITED probably: Exhibition of Paintings, Empire Chambers, Brisbane, 13 – 18 October 1924, cat. 6 (as ‘The banyan trees, Eagle street’) RELATED WORK The Carter's Rest, Eagle Street, 1913, watercolour on paper, 33.0 x 42.0 cm, Exhibition of Paintings, Empire Chambers, Brisbane, 13 – 18 October 1924, cat. 12, in the collection of the Queensland Art Gallery/Gallery of Modern Art, Brisbane The carter’s resting place, oil on board, 20.5 x 20.5 cm, Oil and Watercolours by Vida Lahey, Athenaeum Hall, Melbourne, 29 September – 10 October 1925, cat. 31, Private collection ESSAY At the junction of Creek and Eagle streets in Brisbane, a group of horse-drawn carts take shelter from the heat of the Queensland sun. Despite the suggested tranquility, this urban island, captured by Vida Lahey in (Carts in Eagle Street), c.1913, was only fifty metres from the bustling commercial hub of wharves and warehouses located on the banks of the Brisbane River. Here, ‘draymen and cabmen ... waited at the reserve for hire (as did) waterside workers who waited at ‘The Triangle’ each morning to be hired as day-labourers.’1 Visible at the centre of the composition are wooden sheds containing public urinals for the men’s convenience (later removed in the 1970s) and to the right, just out of view, was a water fountain set up for the horses and workers which survived at the site until the Second World War. At the rear is the ‘old’ Dalgetty Building (1883 – 84), and presiding over the whole scene is a majestic Banyan fig tree and two figs planted in the 1870s by Walter Hill, superintendent of the nearby City Botanic Gardens. Due to their prominence, it is possible that this work is actually The banyan trees, Eagle Street, exhibited in the artist’s solo exhibition in 1924. Eagle Street was once Brisbane’s ‘most romantic street’, full of picturesque maritime personalities who populated the ‘shabby, friendly quays and lanes that debouch on the river. In (Carts in Eagle Street), Vida Lahey set up her easel on The Triangle’s third boundary of Elizabeth Street, from which she also painted The carter’s rest, Eagle Street, 1913, now in the collection of the Queensland Art Gallery | Gallery of Modern Art.3 Initially trained at the Brisbane Central Technical College under Godfrey Rivers, Lahey moved to Melbourne in 1905 to study at the National Gallery Art School under Frederick McCubbin and Bernard Hall. She attracted public notice two years later when she was awarded first prize for still life in the landmark First Australian Exhibition of Women’s Work held at the Royal Exhibition Building in 1907. She subsequently returned to Brisbane and by the time she painted (Carts in Eagle Street), Lahey was already noted for her empathetic portrayal of workers, both domestic and commercial, through such works as Monday morning, 1912, a powerful portrait of two women laboring in her family’s laundry. Gifted that same year to the Queensland Art Gallery, this life-size painting quickly became one of the most popular works in the collection. However, little of Lahey’s output prior to these years survives due to a fire which burnt her studio down in 1912 with all her paintings.4 As such, (Carts in Eagle Street) marks a renewal of practice for the artist. During the Great War, she based herself in London, and studied further in England and France. On her return, Lahey was peripatetic for some years with periods in Hobart, Melbourne and Sydney before finally re-settling in Brisbane in 1929. She would return to painting images of the rapidly changing city, particularly for a solo exhibition in 1932 (see lot. 7), but the number of surviving pre-war works that have survived is few. Inevitably, the drowsy ambience of this scene is long gone, overtaken by the increasing use of motor-driven transport which eventually supplanted the ranks of horse-drawn carts. Today, only the heritage-listed Banyan tree and its White Fig companions remain. 1. East, J. W., ‘ The lost heritage of Eagle Street: a case study of the commercial architecture of Brisbane 1860-1930, 2019, p.16 at www.espace.library.uq.edu.au/data/UQ_733239 (viewed 17.09.21) 2. ‘Growing City. Romance and Adventure: Street of Adventure’, Courier-Mail, Brisbane, 26 September 1933, p.12 3. The carter’s rest, Eagle Street is incorrectly described on the Queensland Art Gallery’s website as being on the corner of Eagle and Queen’s streets, which is approximately 100 metres further north and features the Moonie Memorial fountain (extant). 4. See Lloyd Rees, 1988, cited in MacAulay, B, Songs of Colour: The art of Vida Lahey, exhibition catalogue, Queensland Art Gallery, Brisbane, 1989, p.38 ANDREW GAYNOR
Deutscher and Hackett
Apr. 29, 2021
VIDA LAHEY (1882 - 1968) - Still Life 28.5 x 22 cm (frame: 49 x 41 x 2 cm)
Est: $1,000 - $1,500
VIDA LAHEY (1882 - 1968) Still Life watercolour 28.5 x 22 cm (frame: 49 x 41 x 2 cm) signed lower right. Provenance: Estate of June Caroline Sherry
Lawsons
Jul. 30, 2020
Frances Vida Lahey (1882 - 1968) - Floral Still Life 31.5 x 44 cm (frame: 50 x 60 x 2 cm)
Est: $1,000 - $2,000
Frances Vida Lahey (1882 - 1968) Floral Still Life watercolour 31.5 x 44 cm (frame: 50 x 60 x 2 cm) signed lower right
Lawsons
May. 21, 2020
VIDA LAHEY (1882-1968) Landscape with Cows oil on board
Est: $2,800 - $4,200
VIDA LAHEY (1882-1968) Landscape with Cows oil on board signed lower right: F. V. LAHEY 36 x 53cm PROVENANCE: Private collection, Melbourne Thence by descent
Leonard Joel
Mar. 17, 2020
VIDA LAHEY (1882-1968) Landscape with Cows oil on board
Est: $4,000 - $6,000
VIDA LAHEY (1882-1968) Landscape with Cows oil on board signed lower right: F. V. LAHEY 36 x 53cm PROVENANCE: Private collection, Melbourne Thence by descent
Leonard Joel
Mar. 17, 2020
VIDA LAHEY (1882-1968) Silence oil on board
Est: $6,000 - $8,000
VIDA LAHEY (1882-1968) Silence oil on board signed lower right: F. V LAHEY titled verso 64 x 55cm PROVENANCE: Private collection, Melbourne Thence by descent
Leonard Joel
Mar. 17, 2020
VIDA LAHEY (1882-1968) Still Life oil on board
Est: $3,000 - $5,000
VIDA LAHEY (1882-1968) Still Life oil on board initialled lower right: V.L. 34.5 x 29cm PROVENANCE: Private collection, Melbourne Thence by descent
Leonard Joel