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George Washington Lambert Sold at Auction Prices

Portrait painter, Painter, Illustrator, Sculptor, b. 1873 - d. 1930

George Washington Thomas Lambert ARA (13 September 1873 – 29 May 1930) was an Australian artist, known principally for portrait painting and as a war artist during the First World War.

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        • Battle of Beersheba 31 October 1817
          Jun. 16, 2024

          Battle of Beersheba 31 October 1817

          Est: $50 - $100

          Battle of Beersheba 31 October 1817 print after oil painting by George Lambert (1873-1930), 58cm x 91cm approx (frame)

          Barsby Auctions
        • GEORGE WASHINGTON LAMBERT (1873-1930) Young Man with Pipe pencil on paper 24 x 17cm (40 x 32.5cm framed)
          Jun. 04, 2024

          GEORGE WASHINGTON LAMBERT (1873-1930) Young Man with Pipe pencil on paper 24 x 17cm (40 x 32.5cm framed)

          Est: $700 - $900

          GEORGE WASHINGTON LAMBERT (1873-1930) Young Man with Pipe pencil on paper signed lower right: G W LAMBERT 24 x 17cm (40 x 32.5cm framed) PROVENANCE: The Fred and Elinor Wrobel Collection, Sydney EXHIBITIONS: George Washington Lambert, S.H. Ervin Museum and Art Gallery, Sydney, 22 August - 8 October 1978, cat. no. 74 (inscribed verso) A Brush with the Bush: George Lambert the Early Years, S. H. Ervin Museum and Art Gallery, Sydney, 1993

          Leonard Joel
        • GEORGE WASHINGTON LAMBERT (1873-1930) Gulf Idyll ink, gouache and pencil on paper 29 x 29cm (40.5 x 42cm framed)
          Jun. 04, 2024

          GEORGE WASHINGTON LAMBERT (1873-1930) Gulf Idyll ink, gouache and pencil on paper 29 x 29cm (40.5 x 42cm framed)

          Est: $1,000 - $1,500

          GEORGE WASHINGTON LAMBERT (1873-1930) Gulf Idyll ink, gouache and pencil on paper signed lower right: Geo. W. LAMbERT titled and inscribed lower right: Gulf Idyll / "And the strange / wayward life / was at an / end / (I would like to see proof of this)" 29 x 29cm (40.5 x 42cm framed) PROVENANCE: The Fred and Elinor Wrobel Collection, Sydney

          Leonard Joel
        • GEORGE WASHINGTON LAMBERT (1873-1930) Study for Gulf Idyll pencil on paper 14 x 23.5cm (38 x 50.5cm framed)
          Jun. 04, 2024

          GEORGE WASHINGTON LAMBERT (1873-1930) Study for Gulf Idyll pencil on paper 14 x 23.5cm (38 x 50.5cm framed)

          Est: $700 - $900

          GEORGE WASHINGTON LAMBERT (1873-1930) Study for Gulf Idyll pencil on paper initialled lower left: G W L titled verso 14 x 23.5cm (38 x 50.5cm framed) PROVENANCE: The Fred and Elinor Wrobel Collection, Sydney

          Leonard Joel
        • GEORGE WASHINGTON LAMBERT (1873-1930) The Ideal and the Real ink on paper 15 x 25cm (31 x 46.5cm framed)
          Jun. 04, 2024

          GEORGE WASHINGTON LAMBERT (1873-1930) The Ideal and the Real ink on paper 15 x 25cm (31 x 46.5cm framed)

          Est: $800 - $1,000

          GEORGE WASHINGTON LAMBERT (1873-1930) The Ideal and the Real ink on paper signed lower centre: Geo W LAMbeRT titled on Woolloomooloo Gallery label verso 15 x 25cm (31 x 46.5cm framed) PROVENANCE: The Fred and Elinor Wrobel Collection, Sydney

          Leonard Joel
        • GEORGE WASHINGTON LAMBERT (1873-1930) Nude Figure and Landscape 1907 oil on canvas 20 x 29.5cm (37 x 46cm framed)
          Jun. 04, 2024

          GEORGE WASHINGTON LAMBERT (1873-1930) Nude Figure and Landscape 1907 oil on canvas 20 x 29.5cm (37 x 46cm framed)

          Est: $3,500 - $5,500

          GEORGE WASHINGTON LAMBERT (1873-1930) Nude Figure and Landscape 1907 oil on canvas signed and dated indistinctly lower left: G. Lambert 1907 20 x 29.5cm (37 x 46cm framed) PROVENANCE: The Fred and Elinor Wrobel Collection, Sydney EXHIBITIONS: International Society of Painters and Gravers, Grosvenor Gallery, London, 1907, cat. 194 (label attached verso) George Washington Lambert, S.H. Ervin Museum and Art Gallery, Sydney, 22 August - 8 October 1978, cat. 22 (illus.) Nudes, Campbelltown City Bicentennial Art Gallery, Sydney, 11th July – 26th August 1990, cat. 34 LITERATURE: The Lone Hand, 21 June 1907, vol. 1, no. 2, p. 176 George Washington Lambert, S.H. Ervin Museum and Art Gallery, Sydney, 1978, p. 2 (illus.) Gray, A, George Lambert (1873-1930) Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth in association with Sotheby's and The Australian War Memorial, Canberra, 1996, P74, p. 20

          Leonard Joel
        • LAMBERT George Washington (1873-1930), The Race, Oil on Ply, 24x34.5cm
          May. 26, 2024

          LAMBERT George Washington (1873-1930), The Race, Oil on Ply, 24x34.5cm

          Est: $6,000 - $10,000

          LAMBERT, George Washington (1873-1930) The Race Initialled lower right 'GWL' Likely related to the large oil, 'The Tirranna Picnic Race Meeting,' 1927-29, in the collection of the University of Melbourne (see image). Lambert is known to have attended the Tirranna meeting in 1922, the course located around six miles from Goulburn. Pencil sketches of racehorses verso, and label for Anthony Hordern & Sons, Sydney. Oil on Ply 24x34.5cm PROVENANCE: Ivon Murdoch (1892-1964) and Alma Murdoch (nee Anderson), 'Wantabadgery East,' N.S.W.; Stuart Murdoch, son of the above (d.1990) and Patricia Murdoch (nee McKay), 'Wantabadgery East,' then 'Springvale,' near Wagga Wagga, N.S.W.; Estate Late Patricia Osborne (Murdoch), Wagga Wagga, N.S.W.

          Davidson Auctions
        • GEORGE WASHINGTON LAMBERT (1873-1930), (untitled figures in beach landscape), gouache, signed lower left "G. W. Lambert", 12 x 20cm, 33 x 46cm overall
          May. 26, 2024

          GEORGE WASHINGTON LAMBERT (1873-1930), (untitled figures in beach landscape), gouache, signed lower left "G. W. Lambert", 12 x 20cm, 33 x 46cm overall

          Est: $1,000 - $1,500

          GEORGE WASHINGTON LAMBERT (1873-1930), (untitled figures in beach landscape), gouache, signed lower left "G. W. Lambert", 12 x 20cm, 33 x 46cm overall

          Leski Auctions Pty Ltd
        • 'George Washington Lambert' (Australian,1873-1930) Oil Study on Board of the Australian Camel Corps in Battle in Palestine c.1917. Initialled in bottom right corner 'GWL'
          Feb. 04, 2024

          'George Washington Lambert' (Australian,1873-1930) Oil Study on Board of the Australian Camel Corps in Battle in Palestine c.1917. Initialled in bottom right corner 'GWL'

          Est: $40,000 - $50,000

          A graphic scene showing the aftermath of an enemy attack on a camel-train. A trooper has dismounted his seated camel to attend to a fallen comrade lying prone on the ground. Another trooper clutching a rifle stoops to avoid fire while standing guard while a mounted trooper in the background points backwards to the source of the attack.

          Smalls Auctions
        • [AUSTRALIAN ART] The Art of George W. Lambert
          Jan. 04, 2024

          [AUSTRALIAN ART] The Art of George W. Lambert

          Est: $100 - $140

          The Art of George W. Lambert A.R.A. Sydney: Art in Australia, 1924. First Edition. 28cm x 22cm. [viii], 40 pages, 93 plates (many tipped in and in colour). Quarter leather. Limited to 750 numbered copies, of which this is number 79. Minor soiling and wear to boards. Very minor tanning. Near Fine Condition.

          The Book Merchant Jenkins
        • GEORGE WASHINGTON LAMBERT, HEAD OF A GIRL WITH REDDISH BROWN HAIR, 1915
          Nov. 22, 2023

          GEORGE WASHINGTON LAMBERT, HEAD OF A GIRL WITH REDDISH BROWN HAIR, 1915

          Est: $12,000 - $18,000

          GEORGE WASHINGTON LAMBERT (1873 - 1930) HEAD OF A GIRL WITH REDDISH BROWN HAIR, 1915 oil on canvas on board 43.5 x 33.0 cm Lambert Memorial Trust stamp verso, signed by Gladys Owen and Basil Burdett PROVENANCE Anthony Hordern & Sons Gallery, Sydney (label attached verso) possibly Sir Edward Hayward, Adelaide David Dridan, South Australia Deutscher Fine Art, Melbourne Peter Walker, Adelaide Private collection, New South Wales, acquired from the above c.2001 EXHIBITED Lambert Memorial Exhibition, Anthony Horderns' Fine Art Gallery, Sydney, 25 September – 15 October 1930, cat. 32 (as 'Portrait Study, Head of Girl with Reddish–brown Hair) Australian Paintings Colonial / Contemporary, Deutscher Fine Art, Melbourne, 2 – 19 April 1984, cat. 38 (illus. in exhibition catalogue, n.p.) LITERATURE The Home: an Australian Quarterly, Art in Australia, Sydney, vol. 11, no. 9, 1 September 1930 (illus. on cover as ‘Head of a Girl’)   Burdett, B., ‘THE LAMBERT EXHIBITION’,  Art in Australia, Sydney, 3rd series, no. 34, October – November 1930, p. 66 Gray, A.,  George Lambert 1873 – 1930: Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth, Sotheby's Australia and Australian War Memorial, Canberra, 1996, cat. P185, p. 60

          Deutscher and Hackett
        • LAMBERT George Washington (1873-1930), 'Consider the Lilies - From a Club Window (for the Bulletin)', Gouache, 16.5x22cm
          Oct. 08, 2023

          LAMBERT George Washington (1873-1930), 'Consider the Lilies - From a Club Window (for the Bulletin)', Gouache, 16.5x22cm

          Est: $800 - $1,500

          LAMBERT, George Washington (1873-1930) 'Consider the Lilies - From a Club Window (for the Bulletin)' Poem by Bernard Espinasse verso. Gouache 16.5x22cm

          Davidson Auctions
        • George Washington Lambert (1873-1930) Nude Figure and Landscape, 1907
          Aug. 29, 2023

          George Washington Lambert (1873-1930) Nude Figure and Landscape, 1907

          Est: $5,000 - $7,000

          George Washington Lambert (1873-1930) Nude Figure and Landscape, 1907 signed and dated indistinctly lower left: 'G. Lambert 1907' oil on canvas 20.0 x 29.5cm (7 7/8 x 11 5/8in). For further information on this lot please visit the Bonhams website

          Bonhams
        • George Washington Lambert (1873-1930) Harvesting, 1898
          Aug. 29, 2023

          George Washington Lambert (1873-1930) Harvesting, 1898

          Est: $5,000 - $7,000

          George Washington Lambert (1873-1930) Harvesting, 1898 signed lower right: 'G. Lambert' oil on wood panel 34.5 x 17.5cm (13 9/16 x 6 7/8in). For further information on this lot please visit the Bonhams website

          Bonhams
        • GEORGE W. LAMBERT (1873-1930), Study of Turkish Soldier
          Jun. 28, 2023

          GEORGE W. LAMBERT (1873-1930), Study of Turkish Soldier

          Est: $7,000 - $9,000

          GEORGE W. LAMBERT (1873-1930) Study of Turkish Soldier oil on panel 27.5 x 23.5 cm bears inscription verso: Gladys Owen/ [illeg]

          Menzies
        • GEORGE W. LAMBERT (1873-1930), Head of a Light Horseman
          Jun. 28, 2023

          GEORGE W. LAMBERT (1873-1930), Head of a Light Horseman

          Est: $8,000 - $12,000

          GEORGE W. LAMBERT (1873-1930) Head of a Light Horseman oil on canvas on board 39.0 x 32.5 cm | bears inscription verso: Head of Light Horseman/ no 121 Lambert Memorial Catalogue

          Menzies
        • GEORGE W LAMBERT (1873-1930), Pickford Waller 1910
          Jun. 28, 2023

          GEORGE W LAMBERT (1873-1930), Pickford Waller 1910

          Est: $200 - $400

          GEORGE W LAMBERT (1873-1930) Pickford Waller 1910 pencil on paper signed with initialed lower left: G.W.L 25.5 x 20.5cm PROVENANCE The Peter and Renate Nahum Collection, London

          Gibson's Auctions
        • George Washington Lambert, Australia (1873-1930), The Audience, Pen & ink laid on card
          Jun. 18, 2023

          George Washington Lambert, Australia (1873-1930), The Audience, Pen & ink laid on card

          Est: $600 - $800

          George Washington Lambert Australia (1873-1930) The Audience Pen & ink laid on card Signed lower right

          Theodore Bruce
        • GEORGE WASHINGTON LAMBERT (1873-1930) Portrait of Thea Proctor 1923 pencil on paper
          May. 30, 2023

          GEORGE WASHINGTON LAMBERT (1873-1930) Portrait of Thea Proctor 1923 pencil on paper

          Est: $600 - $800

          GEORGE WASHINGTON LAMBERT (1873-1930) Portrait of Thea Proctor 1923 pencil on paper signed and dated lower centre: G W Lambert / 1923 19 x 11cm PROVENANCE: Gordon Galleries 1970 (label verso)

          Leonard Joel
        • George Washington Lambert, Australia (1873-1930), Standing Nude, Pencil on paper on board
          May. 01, 2023

          George Washington Lambert, Australia (1873-1930), Standing Nude, Pencil on paper on board

          Est: $80 - $120

          George Washington Lambert Australia (1873-1930) Standing Nude Pencil on paper on board Signed lower left

          Theodore Bruce
        • George Washington Lambert (1873-1930) Portrait of a Woman in a Floral Shawl, 1912
          Apr. 23, 2023

          George Washington Lambert (1873-1930) Portrait of a Woman in a Floral Shawl, 1912

          Est: $30,000 - $50,000

          George Washington Lambert (1873-1930) Portrait of a Woman in a Floral Shawl, 1912 dated and signed lower right: '1912 GW LAMBERT' oil on linen 59.5 x 54.5cm (23 7/16 x 21 7/16in).

          Bonhams
        • GEORGE WASHINGTON LAMBERT (1873-1930) "NO ASSETS-AT AN AT HOME
          Mar. 19, 2023

          GEORGE WASHINGTON LAMBERT (1873-1930) "NO ASSETS-AT AN AT HOME

          Est: $800 - $2,000

          Finely painted gouache on paper depicting humorous scene with notation by the artist in border.signed lower right 17cm x 24cm

          Phillip Caldwell Auctioneers
        • GEORGE WASHINGTON LAMBERT (AUST, EUROPE, BRITAIN, 1873-1930) TITLED STUDY OF A MAN, PENCIL, SIGNED LOWER RIGHT, MEASURES 12CM W X 20CM H, ARTARMON GALLERIES STICKER TO VERSO
          Jan. 12, 2023

          GEORGE WASHINGTON LAMBERT (AUST, EUROPE, BRITAIN, 1873-1930) TITLED STUDY OF A MAN, PENCIL, SIGNED LOWER RIGHT, MEASURES 12CM W X 20CM H, ARTARMON GALLERIES STICKER TO VERSO

          Est: $350 - $600

          GEORGE WASHINGTON LAMBERT (AUST, EUROPE, BRITAIN, 1873-1930) TITLED STUDY OF A MAN, PENCIL, SIGNED LOWER RIGHT, MEASURES 12CM W X 20CM H, ARTARMON GALLERIES STICKER TO VERSO WITH PROVIDENCE OF COLLECTION OF LATE MAURICE LAMBERT, VERIFIED BY MRS MAURICE LAMBERT

          Albion Antique Auction Centre
        • GEORGE WASHINGTON LAMBERT (1873-1930) "NO ASSETS:AT AN AT HOME"
          Dec. 11, 2022

          GEORGE WASHINGTON LAMBERT (1873-1930) "NO ASSETS:AT AN AT HOME"

          Est: $1,000 - $2,000

          Finely painted gouache on paper depicting humorous scene with notation by the artist in border.signed lower right 17cm x 24cm

          Phillip Caldwell Auctioneers
        • GEORGE WASHINGTON LAMBERT (1873-1930) Portrait of a Gentleman sanguine and white chalk on toned paper
          Sep. 13, 2022

          GEORGE WASHINGTON LAMBERT (1873-1930) Portrait of a Gentleman sanguine and white chalk on toned paper

          Est: $1,200 - $2,000

          GEORGE WASHINGTON LAMBERT (1873-1930) Portrait of a Gentleman sanguine and white chalk on toned paper signed lower centre: G W L 30 x 22.5cm PROVENANCE: Contents of Swanton, Sutton Forest

          Leonard Joel
        • George Washington Lambert' (Australian, 1873-1930) Oil Study on Board of the Australian Camel Corps in Battle in Palestine c.1917. Initialled in bottom right corner 'GWL'
          Aug. 28, 2022

          George Washington Lambert' (Australian, 1873-1930) Oil Study on Board of the Australian Camel Corps in Battle in Palestine c.1917. Initialled in bottom right corner 'GWL'

          Est: $40,000 - $50,000

          A graphic scene showing the aftermath of an enemy attack on a camel-train. A trooper has dismounted his seated camel to attend to a fallen comrade lying prone on the ground. Another trooper clutching a rifle stoops to avoid fire while standing guard while a mounted trooper in the background points backwards to the source of the attack.

          Smalls Auctions
        • LAMBERT George Washington (1873-1930), 'Her Aim / What was her Maiden Name? / Her Maiden Aim was Money,', Ink & Gouache, 23.5x14cm
          Aug. 21, 2022

          LAMBERT George Washington (1873-1930), 'Her Aim / What was her Maiden Name? / Her Maiden Aim was Money,', Ink & Gouache, 23.5x14cm

          Est: $600 - $1,000

          LAMBERT, George Washington (1873-1930) 'Her Aim / What was her Maiden Name? / Her Maiden Aim was Money,' Initialled and inscribed 'Paris' lower left. Ink & Gouache 23.5x14cm

          Davidson Auctions
        • GEORGE WASHINGTON LAMBERT, THE DEAD TREE, COLDSTREAM, 1926
          Jul. 27, 2022

          GEORGE WASHINGTON LAMBERT, THE DEAD TREE, COLDSTREAM, 1926

          Est: $15,000 - $20,000

          GEORGE WASHINGTON LAMBERT (1873 - 1930) THE DEAD TREE, COLDSTREAM, 1926 oil on wood panel 34.0 x 42.0 cm signed and dated lower right: G W LAMBERT / (1926) signed and inscribed with title verso: “The Dead Tree”/ (sketch) / Painted at Dame Nellies / Place – Combe [sic.] – Coldstream / G W Lambert PROVENANCE Amy Lambert, London John Brackenreg, Sydney Harold Desbrowe Annear (inscribed verso) Artlovers Gallery, New South Wales (label attached verso) Private collection Leonard Joel, Melbourne, 31 July 1990, lot 258 Joseph Brown Gallery, Melbourne  The Cbus Collection of Australian Art, Melbourne, acquired from the above on 17 September 1990 EXHIBITED A Group of Contemporary Painters, Grosvenor Galleries, Sydney, November 1928 The Exhibition of the Royal Academy, 1931. The 163rd, Royal Academy, London, 1931, cat. 721 Commemorative exhibition of works by late members, Winter Exhibition, Royal Academy, London, 7 January – 11 March 1933, cat. 259 Artlovers Gallery, Sydney, January 1959, cat. 7 (as ‘Landscape: The Fallen Tree’) Overland, Latrobe Regional Gallery, Victoria, 10 March – 15 July 2013 Dawn to Dusk: Landscapes from the Cbus Collection of Australian Art, Latrobe Regional Gallery, Victoria, 31 May – 16 November 2014 on long term loan to Geelong Art Gallery, Victoria LITERATURE ‘Art Exhibitions: Contemporary Painters’, Sydney Morning Herald, Sydney, 29 November 1928, p. 15  Gray, A., George Lambert 1873–1930: Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth, Sotheby's Australia and Australian War Memorial, Canberra, 1996, cat. P426, p. 122 Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, pp. 16, 52 (illus.), 223 ESSAY Having spent his teenage years in Australia, George Washington Lambert returned to Europe with family in 1900, aged twenty-seven. Following two years studying in Paris, 1901 – 1902, where he developed a close friendship with fellow expatriate artist Hugh Ramsay, Lambert moved to London where he lived and worked for almost two decades. From the family’s Chelsea residence, celebrity guests including the eminent soprano, Nellie Melba, and actress, Ellen Terry, were regularly entertained. After returning to Australia in November 1921, Nellie Melba invited Lambert ‘to her delightful country place’, Coombe Cottage at Coldstream, near Lilydale, Victoria where he found that ‘she was really too nice for words, robbing me of any thought of her being a hussy or a vicious spoiling. She wants me to do small jobs for her – a drawing & a painting. She really is nice to me and understanding’. He visited Melba again in 1926, and completed several small landscapes, including The dead tree, Coldstream, 1926. 1. Gray, A., George W. Lambert Retrospective: Heroes & Icons, National Gallery of Australia, Canberra, 2007, p. 27

          Deutscher and Hackett
        • Bears Signature LAMBERT George W (1873-1930), Portrait of a Man, Charcoal & Pastel, 60x45.5cm
          Mar. 13, 2022

          Bears Signature LAMBERT George W (1873-1930), Portrait of a Man, Charcoal & Pastel, 60x45.5cm

          Est: $300 - $600

          Bears Signature LAMBERT, George W (1873-1930) Portrait of a Man Charcoal & Pastel 60x45.5cm

          Davidson Auctions
        • 'George Washington Lambert' (Australian, 1873-1930) Oil Study on Board of a Battlefield Scene in Palestine, circa 1917. Initialled in bottom right corner 'GWL'
          Feb. 20, 2022

          'George Washington Lambert' (Australian, 1873-1930) Oil Study on Board of a Battlefield Scene in Palestine, circa 1917. Initialled in bottom right corner 'GWL'

          Est: $30,000 - $40,000

          A graphic scene showing the aftermath of an enemy attack on a camel-train. A trooper has dismounted his seated camel to attend to a fallen comrade lying prone on the ground. Another trooper clutching a rifle stoops to avoid fire while standing guard while a mounted trooper in the background points backwards to the source of the attack.

          Smalls Auctions
        • GEORGE LAMBERT, PORTRAIT OF THEA PROCTOR, 1905
          Dec. 08, 2021

          GEORGE LAMBERT, PORTRAIT OF THEA PROCTOR, 1905

          Est: $30,000 - $40,000

          GEORGE LAMBERT (1873 - 1930) PORTRAIT OF THEA PROCTOR, 1905 oil on canvas 51.0 x 41.0 cm signed and dated lower right: G. W LAMBERT / 1905 PROVENANCE Private collection Theodore Bruce, Adelaide, 30 July 1970 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. 67 or 70 George Washington Lambert, S.H Ervin Museum and Art Gallery, The National Trust of Australia, Sydney, 22 August – 8 October 1978, cat. 13 RELATED WORK Miss Thea Proctor, 1903, oil on canvas, 90.0 x 69.8 cm, in the collection of the Art Gallery of New South Wales, Sydney  ESSAY George Lambert and Althea (Thea) Proctor were students together in the late 1890s at the painting academy run by Julian Ashton, later renamed the Sydney Art School. In 1900, Lambert was awarded the inaugural Society of Artists’ Travelling Scholarship and left for England with his wife Amy, whom he had married two days earlier. In 1903, Proctor also arrived in London and to assist her finances, worked part-time as a paid model for Lambert Through this she become an integral component in a sequence of portraits that established her colleague’s European reputation as a painter of note, and Portrait of Thea Proctor, 1905, is a fine example of their collaboration. Proctor was acknowledged as one of the most stylish Australian women of her time. She combined charm and elegance with a renowned talent for art and design, particularly woodcuts, of which The rose, c.1928, and Women with fans, c.1930, are readily identifiable images from this country’s artistic heritage. In the lead up to leaving for London, Proctor had been engaged for some years to fellow art student Sydney Long, who shared one of the Ashton school’s studios with Lambert. Frustrated by Long’s reticence to commit, she returned the ring and left for overseas. Conversely, her connection to Lambert in London developed well beyond her role as model and she became, above all, his vibrant and intelligent art colleague; a confidant and muse, but not his lover as conjecture has often suggested. In fact, she became an extended member of the artist’s family, ‘a woman with whom Lambert could visit an exhibition while Amy stayed at home and looked after the children, and who in turn was willing to mind the children while he and Amy went to concerts or the theatre.’1 Their first success was the commanding Miss Thea Proctor, 1903, which so impressed the judges at the Royal Academy that it was ‘hung on the line’ at their annual exhibition. Proctor is depicted in this work as both sophisticated and aware, brimming with a forthright confidence that Lambert captured perfectly. In 1905, he painted Althea, a full-length portrait of Proctor wearing a high-necked black dress and striding across the moors with a greyhound.2 She is shown without a hat but the tilt of the head is identical to the painting on offer here, hinting that Portrait of Thea Proctor may well be a related work, with the main difference being that she is now crowned by a fashionably wide-rimmed and feathered hat, worn at a rakish, suggestive angle. Lambert’s bravura technique as a painter exudes from the frame, with the sweep of the feather carried through by the curves of Proctor’s neckline and the decorative black ribbon attached to the hat. A cameo of rich red and gold sits at her sternum, the colour of which assists to accentuate the sitter’s rich, auburn hair and sensual red lips. There are a number of major works by Lambert featuring Proctor and all but two are now owned by Australian State galleries. Of the latter, the prominent collector Kerry Stokes owns The blue hat, 1909; and Portrait of Thea Proctor, 1905, is the only example remaining in private hands.3  1. Gray, A., George Lambert retrospective: heroes and icons, National Gallery of Australia, Canberra, 2007, p.17 2. Althea was subsequently cut down in size and has been re-titled Portrait of Thea Proctor by the Queensland Art Gallery | Gallery of Modern Art. 3. A final portrait of Proctor, location unknown, is illustrated in Jose, A. and others, The art of George W. Lambert A.R.A, Art in Australia, Sydney, 1924, pl. 46 ANDREW GAYNOR

          Deutscher and Hackett
        • GEORGE LAMBERT, EYRE AND WYLIE, 1908
          Dec. 08, 2021

          GEORGE LAMBERT, EYRE AND WYLIE, 1908

          Est: $50,000 - $80,000

          GEORGE LAMBERT (1873 - 1930) EYRE AND WYLIE, 1908 oil on wood panel 26.5 x 38.0 cm signed lower right: G. W. LAMBERT inscribed on handwritten label attached verso: ‘Eyre the Explorer threatened by blacks who had murdered Baxter, Wylie (the aborigine) saved Eyre’s life' PROVENANCE Mrs. L. Abrahams, Melbourne, by 1918 George Page Cooper, Melbourne The Historical George Page Cooper Collection, Leonard Joel, Melbourne, 21 November 1967, lot 354 Private collection, Adelaide Thence by descent Private collection, Adelaide EXHIBITED Loan Exhibition of Australian Art, Art Gallery of New South Wales, Sydney, April 1918, cat. 71 (as ‘Eyre the Explorer’) 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. 69 (label attached verso) George Washington Lambert, S.H Ervin Museum and Art Gallery, The National Trust of Australia, Sydney, 22 August – 8 October 1978, cat. 8 LITERATURE Lang, W. H., Romance of Empire: Australia, T.C. & E.C. Jack, London, 1908, p. 164 (illus., as ‘Eyre and Wylie threatened by the murderers of Baxter’) Borlase, N., ‘A love of flamboyance’, Sydney Morning Herald, 2 September 1978, p. 17 Gray, A.,  George Lambert 1873–1930: Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth, Sotheby's Australia and Australian War Memorial, Canberra, 1996, cat. P88, p. 25 RELATED WORK Burke and Wills on the way to Mount Hopeless, 1907, watercolour, 26.2 x 38.5 cm, in the collection of Bendigo Art Gallery, Victoria An historical incident (a little white hero), 1907, pencil, watercolour and gouache, 30.5 x 41.9 cm, in the collection of the National Gallery of Victoria, Melbourne Kate Kelly (during the last stand of the Kelly Gang), 1908, oil on canvas, 36.5 x 51.0 cm, private collection ESSAY The epic saga of Edward Eyre and Wylie’s arduous crossing of the Nullarbor Plain in 1841 is almost operatic in its dimension. The two young men experienced tragedy, starvation, deprivation and drought, yet both made it alive to King George’s Sound in Western Australia having stumbled overland for nearly 600 miles (965 kilometres) from their start in South Australia. When W. D. Lang’s Romance of Empire: Australia was being planned in 1907, it was to be the first national history written for child readers; thus, it was a certainty that Eyre and Wylie would be included in the narrative. However, the editorial choice of George Lambert to provide illustrations was particularly inspired and ensured that an artist who loved the Australian outback, its people and its horses would be responsible for visualising many of the book’s exciting ‘Boys Own’ moments. Eyre and Wylie, 1908, captures a pivotal moment two months after departure when the explorers’ overseer was shot by two of the party’s younger members, who then abandoned Eyre and Wylie to their fate; and Lambert’s crisp draughtsmanship is on full display.   When commissioned to work with Lang, the artist was already noted for his illustrations for The Bulletin from 1895, and for similar work in three books published by Angus and Robertson. After re-locating to London in 1902, he continued the practice with Cassell’s and Pall Mall magazines, and the following year, drew lively sketches for Alexander Wilberforce (A. W.) Jose’s Two awheel: and some others afoot in Australia. However, Jose’s writing suffered next to Lambert’s contributions with The Bulletin for one proclaiming that ‘the illustrations are more interesting than the book.’1 In 1907, he was invited to create twelve images to accompany the text in Romance of Empire: Australia, one in a new series of books exploring outposts of the British Commonwealth; other countries included Canada, India, West Africa, New Zealand and South Africa. Lambert’s illustrations were originally executed in watercolour and he chose to subsequently reproduce a small number of these of these in oils, including the lot on offer here.   The description of Eyre and Wylie’s journey covers three chapters in Romance of Empire: Australia and was informed by the author reading Eyre’s own account, published in 1845, and Professor J.W. Gregory’s The dead heart of Australia: a journey around Lake Eyre in the summer of 1901-1902, which appeared in 1906.2 In 1840, Eyre was still only twenty-five, yet had already gained notable attention for his entrepreneurship in driving stock from Sydney to South Australia, plus a sequence of explorations to the north of Adelaide. In January 1841, he commenced the attempt to cross the Nullarbor, and after a few stalled beginnings, Eyre sent most of the party back once they reached the head of the Great Australian Bight. His remaining companions were the overseer John Baxter; Wylie, a sixteen year-old Noongar man from the King George Sound district; and two younger boys, Neramberein and Cootachah, recorded as being from the Flinders Ranges.3   By mid-April, privations had set in sowing discontent, and on 29 April, disaster struck. Eyre had taken the first turn in watching the horses that night ‘and as it drew eleven he peered through the scrub to catch the glow of the camp fire, for Baxter’s watch began at that hour. Then suddenly, about a quarter of a mile away, there was a flash and the loud report of a gun.’4 Baxter was dead, shot by Neramberein or Cootachah who had apparently been disturbed by the overseer when they tried to steal supplies. Wylie chose to stay with Eyre in spite of repeated attempts over the next days by his former companions to entice him to join them; the two boys subsequently vanished.   Lambert’s painting shows Eyre being menaced by the killers as Wylie cowers in his wake, an exaggerated stereotype rife in the Edwardian age. Even so, the artist has captured the high drama of the confrontation and vividly displays the physical privations endured by all the participants, horses included. Lambert has reduced the palette dramatically to monochromatic brown and grey reinforcing its emotive suggestion of a desperate moment in a desolate place. After many more struggles, the two men reached Albany where Wylie was greeted ecstatically by his people, who had believed him already dead. Of the twelve gouache and watercolour images which appeared in Romance of Empire: Australia, two are in the collections of the Bendigo Art Gallery and the National Gallery of Victoria. The two that Lambert chose to re-imagine in oil paint were Eyre and Wylie, and another of Ned Kelly’s sister Kate appealing to police at Glenrowan, location unknown.   1. ‘The red page: newly published’, The Bulletin, vol.24, no.1240, 19 November 1903, inside front cover, np 2. See Lang, W. H.,  Romance of Empire: Australia, T.C. & E.C. Jack, London, 1908, p.148 3. Also known as Yarry and Joey, the two boys were probably of the Adnyamathanha people, and both had already been in Eyre’s employ for some years. 4. Eyre, E. J., Journals of expeditions of discovery into central Australia and overland from Adelaide to King George’s Sound in the years 1840-1, T. and W. Boone, London, 1845, vol 2, (online), www.gutenberg.net.au/ebooks/e00048.html Viewed 12 October 2021                   ANDREW GAYNOR

          Deutscher and Hackett
        • GEORGE LAMBERT, ARTIST AND HIS BATMAN, LIGHT HORSE CALVARY, JERUSALEM HEIGHTS, 1920
          Dec. 08, 2021

          GEORGE LAMBERT, ARTIST AND HIS BATMAN, LIGHT HORSE CALVARY, JERUSALEM HEIGHTS, 1920

          Est: $100,000 - $150,000

          GEORGE LAMBERT (1873 - 1930) ARTIST AND HIS BATMAN, LIGHT HORSE CALVARY, JERUSALEM HEIGHTS, 1920 oil on canvas on plywood 31.5 x 42.0 cm signed with initials lower right: G. W. L PROVENANCE Private collection Sir Edward Hayward, Adelaide Old Clarendon Gallery, Adelaide (label attached verso) Private collection, Adelaide, acquired from the above in November 1982 Thence by descent Private collection, Adelaide EXHIBITED Royal Visit Loan Exhibition of Australian Paintings, National Gallery of South Australia, Adelaide,1954 (label attached verso) 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. 66 (label attached verso, as ‘Light Horse Cavalry, Jerusalem Height’) George Washington Lambert, S.H Ervin Museum and Art Gallery, The National Trust of Australia, Sydney, 22 August – 8 October 1978, cat. 41 (as ‘Australian Light Horse on the hills above Damascus’) Old Clarendon Gallery, Adelaide, 1982 (as ‘Portrait with Horses’) LITERATURE Gray, A.,  George Lambert 1873–1930: Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth, Sotheby's Australia and Australian War Memorial, Canberra, 1996, cat. P356, p. 95 (as ‘The artist and his batman’) RELATED WORK The official artist (Self Portrait), 1921, oil on canvas, 91.7 x 71.5 cm, in the collection of the National Gallery of Australia, Canberra ESSAY When the First World War erupted, George Washington Lambert was aged forty and resident in Britain. A society painter of some renown, his equestrian portrait of Edward VII (1910) was considered by many as the best ever done of the monarch. Now considered an equal in London’s art world, Lambert had actually spent his formative years working on a sheep property at Warren in far-western New South Wales and remained in his heart a ‘country man’ with a great love of horses and abiding respect for people who worked the land. In late 1917, he was commissioned to be Australia’s sole war artist in Palestine, and through this ‘the war was to release the man of action that slumbered in Lambert. Always a keen observer, he was by this a splendidly trained draughtsman capable of painting equally well men, horses and landscape, and the incidents of war – the ideal man for Palestine.’1 Artist and his batman, Light Horse Cavalry, Jerusalem Heights, 1920, is a self-portrait as personal souvenir, one redolent of his experience embedded with the troops. Due to his age, Lambert was unable to enlist for the Australian Imperial Force, so he joined a voluntary unit called the United Arts Rifles, where he trained recruits in horsemanship. Following the appointment as war artist, he travelled to Palestine where the Light Horse Brigade was engaged in fighting the Turkish forces. On Christmas Day, ‘complete with a Light Horseman’s plumed hat, spurs, leggings and honorary commission as Lieutenant’, Lambert sailed for the Palestine front and disembarked in Alexandria three weeks later.2 The artist was dazzled by the blazing light which played over the jagged landscape, and soon recognised in the ‘“sweating, sun-bronzed men and beautiful horses” of the Light Horse, the pioneer bushmen he had observed working the wool trade (on) his uncle’s property at Warren.’3 Many of Lambert’s new companions were veterans of the Gallipoli campaign, and with their guidance and vivid stories, he moved from Egypt through to Syria and Palestine, producing forty-nine oil sketches and nearly a hundred drawings, as well as several sketchbooks filled with small pencil studies by the end of the three-month commission. In early 1919, Lambert was the only artist invited to join the historian Charles. E. W. Bean on the first official mission to visit Gallipoli since the ANZAC forces had evacuated. He again produced many images but also revealed his strength of character when he and others of the party were ‘forced to bury more than 300 bodies in a strip of land the size of three tennis courts [at The Nek], which prompted Lambert to write to his wife that “gruesome is scattered all over the battlefield... evidence grins coldly at us non-combatants and I feel thankful that I have been trained to stop my emotions at the border line.’’4 He then re-visited Palestine and Syria, painting more preparatory studies as he again stayed with the Light Horse whilst they demobilised. On return to London, Lambert set to work creating large paintings based on his sketches, armed with new understanding of the true horrors of war. Numerous of these are now star attractions at the Australian War Memorial, such as The charge of the Australian Light Horse at Beersheba 1917, 1920; ANZAC, the landing 1915, 1920-22; and The charge of the 3rd Light Horse Brigade at the Nek, 7 August 1915, 1924. However, it is in the smaller, more intimate works painted at the same time that Lambert truly expressed himself, celebrating the camaraderie experienced amongst his fellow horsemen. Artist and his batman, Light Horse Cavalry, Jerusalem Heights is one of these and its sense of immediacy is striking. Jerusalem is set on a plateau 785 metres above sea level, with views overlooking the Dead Sea, the biblical Mountains of Moab, and coastal plains that march west toward the Mediterranean. It was territory Lambert knew intimately, having ‘camped for a time during the fierce heat of the summer of 1918 in Chauvel’s Desert Mounted Corps camp at Talaat ed Dum [just north of Jerusalem], in the hideous country of the Wilderness, and from there, and from the Light Horse camps down in the stifling Jordon Valley, he would walk out day after day for hours at his labour of love.’5 In this self-portrait, painted in the London studio, Lambert’s delight is obvious, seated with his portable paint box in this harsh land amongst the horses and men he so admired, his smiling face and favourite pipe accentuated by the curved loop of the white bridle. His batman, who has not been identified, wears the Light Horse emblem of an emu feather in his hat and was an essential companion in Palestine, being a soldier assigned to act as a servant to commissioned officers and who also looked after their horse (known as the bat-horse).6 Lambert returned to Australia in 1921 and was to enjoy another decade of success in Australia and Britain, but his experiences in the Middle East remained some of his happiest memories. He actively re-engaged with the Australian art community and was important in his advocacy and support for a number of younger artists. Horses, however, remained his greatest love and it was after a ride in May, 1930, as he leant over to fix a piece of timber to his mount’s drinking trough, that this grand cavalier died of a heart attack. Arthur Streeton was devastated to lose his old friend, writing to Basil Burdett that ‘it’s difficult to get the horrible news out of one’s head – it’s quite useless to fret about him. But everything here reminds me of him ... poor old Julian Ashton will feel it, he was always so proud of G. W. L.’7 1. Lindsay, L., ‘George Lambert – our first Australian master’, Art in Australia, 3rd series, no.36, February 1931, p.15 2. Roberts, Major M. L. H., ‘George Washington Lambert’, The Australian Light Horse Association, www.lighthorse.org.au/george-washington-lambert Viewed 12 October 2021 3. Yip, A., ‘George Lambert at Gallipoli. ‘A wonderful setting for the tragedy’: an artist captures the Anzac horror’, Look magazine, Art Gallery of New South Wales, 2013, pp.10-11 4. Ibid. 5. Gullett, H.S., ‘Lambert and the Light Horse’, in: Art in Australia, ‘Lambert Memorial Number’, 3rd series, no.33, August-September 1930 6. Charles Bean recorded that Lambert was assigned a Light Horseman named (William?) Spruce from Port Stephens, NSW, to handle the mule the artist used to carry his supplies in Gallipoli, but there is no record that Spruce was also with Lambert in Palestine. The author thanks Hollie Gill at the Australian War Memorial for this information. 7. Arthur Streeton, letter to Basil Burdett, 31 May 1930. Transcribed in: Galbally, A., and Gray, A., Letters from Smike: the letters of Arthur Streeton 1890-1943, Oxford University Press, Melbourne, 1989, p.196. Between 1895 and 1899, Lambert studied with Julian Ashton who always remained proud of student’s achievements. ANDREW GAYNOR

          Deutscher and Hackett
        • LAMBERT George Washington (1873-1930), 'Horse with Rug', Oil on Board, 32.5x40.5cm
          Dec. 05, 2021

          LAMBERT George Washington (1873-1930), 'Horse with Rug', Oil on Board, 32.5x40.5cm

          Est: $6,000 - $10,000

          LAMBERT, George Washington (1873-1930) 'Horse with Rug' Signed 'GW Lambert,' lower right. Literature: 'George Lambert Catalogue Raisonne,' Anne Gray, Bonamy Press, Sotheby's & Australian War Memorial cat #P471. Exhibited: Horderns 1930 (illustrated in catalogue cat #15); David Jones 1937 (loan section). Provenance: John B Pye (pencil inscription verso); private collection, Sydney. Oil on Board 32.5x40.5cm

          Davidson Auctions
        • GEORGE W. LAMBERT (1873-1930), The Blue-Coat Boy 1918
          Dec. 01, 2021

          GEORGE W. LAMBERT (1873-1930), The Blue-Coat Boy 1918

          Est: $20,000 - $30,000

          GEORGE W. LAMBERT (1873-1930) The Blue-Coat Boy 1918 oil on board 38.5 x 29.5 cm signed and dated lower right: GW. LAMBERT 1918 signed and inscribed verso: The Blue Coat Boy/ Leonard Constant Lambert/ by Geo W. Lambert

          Menzies
        • George Washington Lambert (1873-1930) To the Black Halford
          Nov. 17, 2021

          George Washington Lambert (1873-1930) To the Black Halford

          Est: $800 - $1,200

          George Washington Lambert (1873-1930) To the Black Halford signed lower right: 'G.W.LAMBERT' titled lower left: 'TO THE BLACK HALFORD' pencil on paper 26.0 x 18.5cm (10 1/4 x 7 5/16in). For further information on this lot please visit the Bonhams website

          Bonhams
        • GEORGE W. LAMBERT 1873-1930 Daune O'Neill (1917) oil on canvas
          Nov. 16, 2021

          GEORGE W. LAMBERT 1873-1930 Daune O'Neill (1917) oil on canvas

          Est: $40,000 - $60,000

          GEORGE W. LAMBERT 1873-1930 Daune O'Neill (1917) oil on canvas signed 'G W Lambert' lower left 77 x 61.5 cm PROVENANCE G.W. Lambert, London Mr J.A. Nicholls, Adelaide Norman Schureck, Sydney The Norman Schureck Collection of Valuable Pictures, James R. Lawson, Sydney, 1962, lot 44, 'Dawne', 550 gns V.M. Newbold, New South Wales Australian Paintings, Christie's Australia, Sydney, 6 October 1971, lot 339, 'Daune', illustrated Private Collection, Sydney Important Australian Art, Sotheby's Australia (now trading as Smith & Singer), Sydney, 8 May 2012, lot 67, illustrated Private Collection, Melbourne EXHIBITED Twenty-second Exhibition of the International Society of Sculptors, Painters and Gravers, Grosvenor Gallery, London, June 1917, no. 44 The Society of Australian Artists: Exhibition of Works, Burlington Gallery, London, 10-30 April 1920, no. 9, 'Dawne' Geo. W. Lambert, Fine Art Society's Gallery, Melbourne, 12-28 May 1921, no. 4, 'Dawne' Annual Exhibition, Society of Artists, Education Department's Gallery, Sydney, 10 September - 1 October 1921, no. 13A, 'Dawne' Lambert and Heysen. An Exhibition of Portraiture, Still Life, and Landscape, Preece's Gallery, Adelaide, 29 August - 7 September 1923, no. 3, 'Dawne' Royal South Australian Society of Arts, Adelaide, 1930, no. 41, 'Dawn' Norman Schureck Loan Exhibition, Art Gallery of New South Wales, Sydney, 27 May - 29 June 1958, no. 65, 'Dawne', illustrated. LITERATURE The Observer, London, 17 June 1917, p. 5 The Sydney Morning Herald, Sydney, 9 September 1921, p. 6 Arthur Jose et. al., The Art of George W. Lambert, Art in Australia, Sydney, 1924, plate 5 Amy Lambert, Thirty Years of an Artist's Life, Society of Artists, Sydney, 1938, p. 57 Susan Hunt, 'The Return of the Expatriate: Lambert's Late Portrait Work', Art and Australia, Vol. 28, No. 2, Summer 1990, p. 216 Anne Gray, George Lambert (1873-1930) Catalogue Raisonné: Paintings and Sculpture, Drawings in Public Collections, Bonamy Press, Perth in association with Sotheby's and The Australian War Memorial, Canberra, 1996, P212, p. 68

          Smith & Singer
        • GEORGE LAMBERT, DOÑA SOL, 1910
          Nov. 10, 2021

          GEORGE LAMBERT, DOÑA SOL, 1910

          Est: $150,000 - $250,000

          GEORGE LAMBERT (1873 - 1930) DOÑA SOL, 1910 oil on canvas  127.5 x 102.0 cm signed and dated lower left: G. W. LAMBERT / 1910  PROVENANCE The Fine Art Society, London Private collection Christie’s, Melbourne, 14 March 1974, lot 435 (as ‘Portrait of a Woman with a Terrier’) Clune Galleries, Sydney (label attached verso) Jack Manton, Queensland Thence by descent Jennifer Manton, Sydney Estate of the above, Sydney EXHIBITED Third Exhibition of Fair Women, ISSPG, Grafton Galleries, London, 26 May – 31 July 1910, cat. 69  LITERATURE Birmingham Post, 30 May 1910 Henry, P., Art News, London, 2 June 1910 Onlooker, London, 4 June 1910 P.G. Konody, Observer, London, 5 June 1910, p. 9 (as ‘Doña Sol’) Ingram, T., A Matter of Taste, Collins, Sydney, 1976, pp. 46, 134 (illus., as ‘Portrait of a Woman with a Terrier’) Gray, A., George Lambert 1873 – 1930, Catalogue Raisonné, Bonamy Press in association with Sotheby’s and Australian War Memorial, Canberra, 1993, cat. P116, p.36   ESSAY In London’s Edwardian age, sophisticated beauties of fashionable inclination happily indulged themselves in hats of outrageous size. Society portrait painters responded with alacrity; two exceptional three-quarter length works of this time by George Washington Lambert were Mrs Henry Dutton of South Australia (Guy Morrison Collection, London) and our painting, Doña Sol. Both were painted in 1910. Aristocratic and gracious, Emily Dutton’s low-cut black dress enhanced her beauty. The dress of the more theatrically inclined Doña Sol was likewise low cut, accompanied by blue shawl and blue ostrich feathers peeking cheekily around the edge of a black hat. Lambert silhouetted his ladies beguilingly against romantic landscapes. The ‘trepidation’ of Henry Dutton, Emily’s husband, who commissioned the portrait during a visit to London, was such that he made watchful attendance at the studio sittings.1   In this quintessential age of feminism, Lambert endowed these belle époque pictorial moments with poise, elegance and eye-catching gestures. For Mrs Dutton the look is direct; for Doña Sol it is haughty. The latter has sensuality in abundance, heightened by bravura. Detachment and a sense of the unobtainable adds a new edge. Andrew Motion, writing on Lambert’s portrait, Miss Thea Proctor, 1903 (Art Gallery of New South Wales, Sydney), observed that: ‘Its potency depends greatly on its restraint’, adding, the handling of the paint ‘is intensely sensuous’,2 a characteristic shared with Doña Sol and others. Naked flesh, liberally revealed, and underlying eroticism are celebrated in elongated neck and arms. Doña Sol is identified by Anne Gray as ‘An exhibition piece, not a commissioned portrait’3 – the dog giving a clue to the otherwise enigmatic nature of the painting.   Animals appear in portraits of all kinds and for all kind of reasons. The horse ennobles the conquering emperor in Jacques-Louis David’s equestrian portrait of Napoleon (Musée du Louvre). The pugnacious nature of William Hogarth is emphasised by the presence of his pug dog in the very British self-portrait (Tate Gallery, London). And in Rupert Bunny’s pair, Portrait of the Artist’s Wife, c.1896 (National Gallery of Victoria, Melbourne) and Jeanne with Her Terrier, c.1896 (private collection), fidelity is enshrined in embrace. The difference between Bunny’s two paintings and Doña Sol could not be more stark. In Lambert’s painting, the relationship between woman and dog is detached and teasingly distant. Using the entire person for expression of character, as was his manner, Lambert’s Doña Sol typically draws attention to her hands – elegantly idle. Here is the quizzical coquette, acting her flirtatious part by provocatively drawing attention to herself. When Doña Sol was exhibited in London in mid-1910, critical opinion was divided. The Birmingham Post praised its ‘admirable colour arrangement’4, while Paul Henry in Art News thought it ‘too intentionally clever’5 and P.G. Konody of The Observer stung with ‘superficial slickness’, failing to acknowledge that Lambert’s slick usages were part of his characterisation of fickleness.6 For Lambert, it was a period of great achievement through many works of outstanding merit. The exquisitely beautiful Portrait of Annie, Wife of John Proctor Esqr, Barrister at Law, 1907 was hailed by the same P.G. Konody of The Observer: ‘It is in this portrait of Mrs Proctor that Mr Lambert proves his right to be counted among the leading portrait painters’.7 When The Blue Hat, 1909 (Kerry Stokes Collection, Perth) was exhibited in the Paris New Salon, it was judged ‘The Picture of the Year’.8 The unconventional Chesham Street, 1910 (National Gallery of Australia, Canberra), provided a bold psychological approach to medical examination. And as if to crown these years of achievement, in 1910 Lambert was commissioned by London’s Imperial Colonial Club to paint a grand equestrian portrait of King Edward VII. 1. Their son Geoffrey Dutton, quoted in a letter: see Gray, A., George Lambert 1873-1930, Catalogue Raisonné, Bonamy Press in association with Sotheby’s and Australian War Memorial, Canberra, Canberra, 1993, p. 36 2. Motion, A., The Lamberts: George, Constant & Kit, Chatto & Windus, London, 1986, p. 45 3. Gray, op. cit, p. 36 4. Birmingham Post, 30 May 1910 5. Henry, P., Art News, 2 June 1910 6. Konody, P.G., Observer, 5 June 1910 7. Ibid, 9 February 1908, p. 5 8. Motion, op. cit., p. 46 DAVID THOMAS

          Deutscher and Hackett
        • George Washington Lambert (1873-1930) The White Dress
          Aug. 24, 2021

          George Washington Lambert (1873-1930) The White Dress

          Est: $1,500 - $2,500

          George Washington Lambert (1873-1930) The White Dress signed lower right: 'G.W.Lambert' watercolour on paper on board 28.0 x 22.0cm (11 x 8 11/16in). For further information on this lot please visit the Bonhams website

          Bonhams
        • LAMBERT George Washington (1873-1930), The Weary Digger, Pencil, 26x20cm
          Nov. 29, 2020

          LAMBERT George Washington (1873-1930), The Weary Digger, Pencil, 26x20cm

          Est: $600 - $800

          LAMBERT, George Washington (1873-1930) The Weary Digger Pencil 26x20cm

          Davidson Auctions
        • * Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902
          Oct. 09, 2020

          * Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902

          Est: £100 - £200

          * Lambert (George Washington, 1873-1930). Portrait of a young woman, 1902, pencil on paper laid on card, head and shoulders portrait half-profile to left, of an Edwardian lady gazing into the distance, wearing a high-necked blouse and with her hair swept up, signed and dated lower right and with placename of London, toned and some light spotting, a little worn at edges, sheet size 23.7 x 18.9cm (9.5 x 7.5ins) Qty: (1)

          Dominic Winter Auctions
        • LAMBERT George Washington (1873-1930), Portrait of a Boy, c1920s., Pencil, 33.5x22.5cm
          Aug. 16, 2020

          LAMBERT George Washington (1873-1930), Portrait of a Boy, c1920s., Pencil, 33.5x22.5cm

          Est: $500 - $800

          LAMBERT, George Washington (1873-1930) Portrait of a Boy, c1920s. Ex collection John Preece - letter verso detailing provenance & attribution. Pencil 33.5x22.5cm

          Davidson Auctions
        • George Lambert. "Still is the Night-Stonington,CT"
          Jul. 25, 2020

          George Lambert. "Still is the Night-Stonington,CT"

          Est: $1,000 - $2,000

          Attributed to George Washington Thomas Lambert (Australian, 1873-1930). Oil on board, signed "George Lambert" lr, titled on verso, 20 1/2 x 24 in., framed.

          Alex Cooper
        • GEORGE WASHINGTON LAMBERT (after), (1873-1930), Across The Black Soil Plains (1899), [study], oil on board, 13 x 45cm
          Jun. 13, 2020

          GEORGE WASHINGTON LAMBERT (after), (1873-1930), Across The Black Soil Plains (1899), [study], oil on board, 13 x 45cm

          Est: $1,200 - $1,500

          GEORGE WASHINGTON LAMBERT (after), (1873-1930), Across The Black Soil Plains (1899), [study], oil on board, 13 x 45cm

          Leski Auctions Pty Ltd
        • George Washington Lambert (1873 - 1930) - "Galloped Away… As Fast As The Horse Could Lay Legs To The Ground", 1895 22 x 25 cm (frame...
          Apr. 09, 2020

          George Washington Lambert (1873 - 1930) - "Galloped Away… As Fast As The Horse Could Lay Legs To The Ground", 1895 22 x 25 cm (frame...

          Est: $1,000 - $1,500

          George Washington Lambert (1873 - 1930) "Galloped Away… As Fast As The Horse Could Lay Legs To The Ground", 1895 ink on paper 22 x 25 cm (frame: 37 x 40 x 3 cm) signed and dated ''95 lower centre

          Lawsons
        • George W. Lambert (1873-1930)
          Apr. 05, 2020

          George W. Lambert (1873-1930)

          Est: $10,000 - $15,000

          Portrait of Maurice, the Artist's Son oil on canvas on board, in John Thallon, Carver and Gilder frame

          Shapiro Auctioneers
        • LAMBERT George Washington (1873-1930), 'The Lover's Parting (for The Bulletin)' 1898., Pen & Ink, 32x28cm
          Mar. 22, 2020

          LAMBERT George Washington (1873-1930), 'The Lover's Parting (for The Bulletin)' 1898., Pen & Ink, 32x28cm

          Est: $1,000 - $1,800

          LAMBERT, George Washington (1873-1930) 'The Lover's Parting (for The Bulletin)' 1898. Verse by Dorothy Elton. Signed 'G W Lambert,' lower right. Pen & Ink 32x28cm

          Davidson Auctions
        • George W. Lambert (1873 - 1930) - Over The Top (study) 23.5 x 17.5 cm
          Dec. 19, 2019

          George W. Lambert (1873 - 1930) - Over The Top (study) 23.5 x 17.5 cm

          Est: $1,000 - $1,500

          George W. Lambert (1873 - 1930) Over The Top (study) pencil 23.5 x 17.5 cm unsigned; Certified by The Lambert Memorial Fund as the work of G.W.Lambert 1930, signed by Gladys Owen & Basil Burdett

          Lawsons
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