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Frederick McCubbin Sold at Auction Prices

Landscape painter, Porträtmaler, Genre Painter, Painter, b. 1855 - d. 1917

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      • FREDERICK MCCUBBIN (AUSTRALIAN, 1855-1917)
        Jun. 18, 2024

        FREDERICK MCCUBBIN (AUSTRALIAN, 1855-1917)

        Est: £25,000 - £35,000

        FREDERICK MCCUBBIN (AUSTRALIAN, 1855-1917) PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION FREDERICK MCCUBBIN (AUSTRALIAN, 1855-1917) Shepherd's Hut, Macedon signed and dated 'F M CCUBBIN/1904' (lower right) oil on canvasboard 25.5 x 35.5 cm. (10 x 13 3/4 in.) Provenance Sale; Christie's, Melbourne, 1 May 2000, lot 74, where purchased by the present owner Exhibited Sydney, Art Gallery of New South Wales, 1955, no.19 Frederick McCubbin (1855-1917) was one the prominent figures behind the development of Australian Impressionism, otherwise referred to as the Heidelberg School Movement, which consisted of a group of landscape painters including Arthur Streeton (1867-1943) and Tom Roberts (1856-1931). As a young boy, he began to sketch in his free time and even lost one of his jobs for sketching during work hours. He enrolled at the National Gallery of Victoria Art School in 1870, where later in his life he taught for the remainder of his career. During his early career, he encountered fellow thinkers who undoubtedly influenced his progress in plein air painting. He befriended fellow artists Louis Abrahams (1852-1903) and Charles Douglas Richardson (1853-1932) whilst attending evening classes at the Artisans School of Design at Carlton from 1867 to 1870. It is believed that his acquaintance with Louis Buvelot (1814-1888) influenced his decision to pursue academic training; Buvelot was a Swiss-born artist whose naturalistic landscapes of the domesticated Australian countryside had a profound impact on McCubbin's later work. During his education, he was led by a romantic landscape painter Eugene von Guérard (1811-1901) and later George Folingsby (1828-1891), an artist whose primary interest lay in academic figure and narrative painting and who had a substantial influence on McCubbin’s development. McCubbin was a member of the Australian Artist Association, which merged with the Victorian Academy of Art in 1888 and was elected to the Council Victorian Artists’ Society in 1888; he became President of the society in 1903-1904 and 1909–1910. McCubbin’s recurrent subject matter was of the countryside or abandoned places where nature surrounded and appeared overgrown. The presented work, Shepherd's Hut, Macedon, encapsulates McCubbin's ability to portray luminosity and utilise a vibrant palette.

        Chiswick Auctions
      • FREDERICK MCCUBBIN, TOWARDS RICHMOND FROM KENSINGTON ROAD, SOUTH YARRA, C.1910
        Apr. 24, 2024

        FREDERICK MCCUBBIN, TOWARDS RICHMOND FROM KENSINGTON ROAD, SOUTH YARRA, C.1910

        Est: $30,000 - $40,000

        FREDERICK MCCUBBIN (1855 - 1917) TOWARDS RICHMOND FROM KENSINGTON ROAD, SOUTH YARRA, c.1910 oil on canvas board 25.0 x 35.5 cm signed lower right: F McCubbin bears inscription verso: no. 7 J. Q. McCUBBIN PROVENANCE The artist, Melbourne Thence by descent John McCubbin, Melbourne, the artist's grandson Thence by descent Mrs Nanette McCubbin, Melbourne Deutscher and Hackett, Melbourne, 27 – 28 August 2008, lot 25A Private collection, Melbourne

        Deutscher and Hackett
      • FREDERICK MCCUBBIN, STUDY FOR WILLIAMSTOWN LANDSCAPE, 1909
        Apr. 24, 2024

        FREDERICK MCCUBBIN, STUDY FOR WILLIAMSTOWN LANDSCAPE, 1909

        Est: $50,000 - $70,000

        FREDERICK MCCUBBIN (1855 - 1917) STUDY FOR WILLIAMSTOWN LANDSCAPE, 1909 oil on canvas on board 25.5 x 35.5 cm signed lower right: F M McCubbin PROVENANCE Esther Paterson, Melbourne, 1962 Christie's, Melbourne, 26 November 1996, lot 106 Private collection, Melbourne Deutscher~Menzies, Melbourne, 20 April 1998, lot 35 Private collection, Melbourne Deutscher~Menzies, Melbourne, 13 September 2006, lot 40 Private collection, Adelaide EXHIBITED Archives Exhibition, Victorian Artists' Society, Melbourne, November 1962, cat. 22 The Artists' Journey: Discovering the Victorian Coastline 1840 – 1910, Mornington Peninsula Regional Gallery, Victoria, 14 December 2003 – 22 February 2004 (label attached verso) LITERATURE MacDonald, J., The Art of Frederick McCubbin, The Lothian Book Publishing Co. Pty Ltd., Melbourne, 1916, p. 78 Thomas, D. E. L., 'Frederick McCubbin's Winter Sunlight', Bulletin of the Art Gallery of South Australia, Adelaide, 1978, vol. 36, pp. 39 - 40 RELATED WORK Williamstown Landscape, 1909, oil on canvas, 61.0 x 91.5 cm, formerly in the collection of the National Australia Bank, sold Deutscher and Hackett, Melbourne, 22 February 2022, lot 17 ESSAY We are grateful to Brenda Martin Thomas, wife of the late David Thomas AM, for kindly allowing us to reproduce David's writing in this catalogue entry. Ships and docks run throughout Frederick McCubbin’s art, one of his earliest oil paintings being View of the New Dock, 1880. This is not surprising for McCubbin grew up in King Street, not far from the Melbourne docks, and the docklands were part of his teenage bread round when working for his father. Moreover, ships from faraway places would have exercised a strong appeal for a young man of McCubbin’s romantic inclination. Two years later, he painted Falls Bridge, Melbourne, 1882 (National Gallery of Victoria), the numerous masts of tall ships spread enticingly across the background. This was followed by such major paintings as The City’s Toil, 1887 (also known as Smith’s Wharf, Yarra Yarra) now in Wesfarmers collection, and Melbourne, 1888 (National Gallery of Victoria), showing the city from the busy docks. Even during his trip to England in 1907 his attention was drawn to shipping and harbours, at Naples, Genoa, and especially on the Thames. His single, most important painting from this trip was The Pool of London, 1907, which was accompanied by a number of smaller studies and related scenes – Thames Barges; Hammersmith Bridge; and Barges, Pool of London – all of the same dimensions as the painting on offer. In England, he also enjoyed seeing at first hand the paintings of his lifelong hero, J.M.W. Turner, whose increased influence on his work after his return is engagingly apparent in this and other paintings. The shipping slips and sheds of Williamstown on Port Phillip Bay attracted many artists, especially McCubbin after his return to Australia. In January 1909, he wrote to his old friend Tom Roberts in London: ‘I have been down at Williamstown for a few pochards [rough sketches] my dear boy, just like Venice, lovely colour. Water, sky and an old ship… the older I get, the wider my interest grows in all life, colour and charm.’1 Study for ‘Williamstown Landscape’, 1909 is one of at least three known and very similar studies for the larger painting, Williamstown Landscape, 1909 formerly in the collection of the Art Gallery of South Australia. Our painting appears to be the first of these studies, painted en plein air directly from the motif, the application of the paint with deft strokes of the palette knife capturing the scene with a sparkling freshness. Another important Williamstown subject, The Old Ship, Williamstown, 1915 was painted from a position on the other side of the buildings shown in this appealing study. 1. Letters to Tom Roberts, vol. II, no. 18, Mitchell Library, State Library of New South Wales, Sydney. DAVID THOMAS

        Deutscher and Hackett
      • McCUBBIN Frederick (1855-1917), 'Grey Day - the Old Garden, Kensington Rd, South Yarra,' c.1911-12., Oil on Canvas, 34x49cm
        Nov. 25, 2023

        McCUBBIN Frederick (1855-1917), 'Grey Day - the Old Garden, Kensington Rd, South Yarra,' c.1911-12., Oil on Canvas, 34x49cm

        Est: $30,000 - $50,000

        McCUBBIN, Frederick (1855-1917) 'Grey Day - the Old Garden, Kensington Rd, South Yarra,' c.1911-12. Signed lower right 'F McCubbin.' Title inscribed verso; also, remnants of label for The Sedon Galleries, Elizabeth Street, Melbourne. Oil on Canvas 34x49cm 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. OTHER NOTES: The artist moved to 'Carlsberg' in Kensington Road, South Yarra, in 1907 soon after his return from Europe where he was influenced by the work of Corot and Monet amongst others. In a letter of that same year to Tom Roberts, he wrote: 'this is the loveliest place I have ever lived in. A charming old colonial house perched right over the Yarra with three acres of garden and trees,' Letters to Tom Roberts, Vol II, Mitchell Library, Sydney.

        Davidson Auctions
      • FREDERICK MCCUBBIN (1855-1917), Summer Haze 1916
        Oct. 29, 2023

        FREDERICK MCCUBBIN (1855-1917), Summer Haze 1916

        Est: $50,000 - $80,000

        FREDERICK MCCUBBIN (1855-1917) Summer Haze 1916 oil on canvas signed and dated lower right: F McCubbin / 1916 bears inscription on gallery label verso: Late Fred McCubbin / ‘Summer Haze' 46.0 x 58.5cm PROVENANCE The Sedon Galleries, Melbourne (label verso) Joseph Brown Gallery, Melbourne Henry Krongold, Melbourne, acquired from the above in June 1989 The Estate of Paul Krongold, Melbourne

        Gibson's
      • FREDERICK MCCUBBIN, EDGE OF THE CLEARING,
        Aug. 16, 2023

        FREDERICK MCCUBBIN, EDGE OF THE CLEARING,

        Est: $50,000 - $70,000

        FREDERICK MCCUBBIN (1855 - 1917) EDGE OF THE CLEARING oil on canvas on cardboard 25.5 x 35.0 cm signed lower right: F. McCubbin bears inscription on frame verso: Edge of the Clearing F McCubbin PROVENANCE Private collection Artarmon Gallery, Sydney, September 1965 (label attached verso) Sir Leon and Lady Trout, Brisbane The Collection of Sir Leon and Lady Trout, Christies, Brisbane, 6 June 1989, lot 170 Henry Krongold, Melbourne The Estate of Paul Krongold, Melbourne EXHIBITED Master Works from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 21 September – 14 December 1977, cat. 24 (label attached verso) ESSAY It is highly plausible that Edge of the Clearing is one of the studies done by Frederick McCubbin in preparation for his masterpiece The Pioneer, 1904 (National Gallery of Victoria). This monumental triptych has mesmerised audiences since its first display, a poignant tale of a pioneering family and the property they establish in the bush. At the rear of the central panel is the settlers’ cottage which bears a marked similarity to the one seen here, framed by large trees and partially obscured by saplings. The technique and setting also identifies Edge of the Clearing as being painted before 1907, when McCubbin went to Europe, radically changing his style on return. It further bears a marked similarity to the bush around the artist’s family home ‘Fontainebleau’ at Mt Macedon, north of Melbourne.   McCubbin and his wife Annie purchased this property in 1901 and, as his youngest daughter Kathleen recalled, her father’s ‘greatest love was the bushland at Mt Macedon. The mystique of the Australian bushland intrigued him: the sunlight glinting through the tall timbers, the secret colours in the abundant undergrowth, the call of the birds, and the whispering breeze… He loved them all.’ 1 It was a bush landscape populated by stringybarks, bracken, wattle and manna gums, and Edge of the Clearing accurately coveys the scrubbiness and dappled light which so intrigued the artist. However, the cottage itself was more likely to be one from the adjoining property, ‘Ard Choille’ (meaning ‘height of the woods’ in Scots Gaelic), owned by William McGregor who built a number of little cottages there, with the one shown in The Pioneer having been used by the keeper of his bull farm. 2 McCubbin painted a great number of important and wonderfully atmospheric paintings around Fontainebleau, indicative of his belief that ‘(n)ature under our Australian sky seems to me like a shy, reserved person, ready to repel you; but you only have to wait and watch her varying moods, and you will find all the beauty you want.’ 3 Unfortunately the scene is now radically changed. Sold during the Depression, the property was subsequently logged for milling before bushfires cleared the rest until it became a grassed paddock for horses. 4 Ironically, recent years of neglect have seen much of Fontainebleau’s bushland return.   When The Pioneer was exhibited, the critic for The Age noted that ‘one condition of success, apart from the question of the necessary technique, is that the artist remains true to the spirit of our landscape, and to the spirit in which we live our lives amid it, as Mr McCubbin has done.’ 5 Though far more modest in scale, this observation rings true for Edge of the Clearing as well, and apart from its quality, as implied through its subsequent ownership by the Trout and Krongold families, the painting bears a further distinctive feature, its original frame. This is almost certainly made by master frame-maker John Thallon, and ‘uses composition ornaments on a wooden chassis. The torus ornament is conventional imbricated laurel leaves and berries, cross-banded at the corners. The flat is sanded.’5 A very similar example can be found on John Ford Paterson’s  Fernshaw, 1896 (Castlemaine Art Museum).                                                                                                                         1. Mangan, K., Daisy Chains, War, the Jazz, Hutchison, Melbourne, 1984, p. 70 2. ibid., p. 126 3. Frederick McCubbin. Quoted in: ‘Amongst the country studios’, The Age, Melbourne, 10 February 1894, p. 14 4.See: McKenzie, A., Frederick McCubbin 1855-1917: ‘The Proff’ and his art, Mannagum Press, Melbourne, 1990, p. 129 5. The Age, Melbourne, 16 August 1905, p. 6 6. Payne, J., Framing the Nineteenth Century: Picture Frames 1837- 1935, Peleus Press/National Gallery of Victoria, 2007, p. 174   ANDREW GAYNOR 

        Deutscher and Hackett
      • FREDERICK MCCUBBIN, SUMMER HAZE, 1916
        Aug. 16, 2023

        FREDERICK MCCUBBIN, SUMMER HAZE, 1916

        Est: $70,000 - $90,000

        FREDERICK MCCUBBIN (1855 - 1917) SUMMER HAZE, 1916 oil on canvas 46.0 x 58.5 cm signed and dated lower right: F McCubbin / 1916 bears inscription on gallery label verso: Late Fred McCubbin / ‘Summer Haze’ PROVENANCE The Sedon Galleries, Melbourne (label attached verso) Joseph Brown Gallery, Melbourne Henry Krongold, Melbourne, acquired from the above in June 1989 The Estate of Paul Krongold, Melbourne ESSAY Frederick McCubbin’s Summer haze, 1916, is one of the last paintings finished by the artist, alongside his striking self-portrait from the same year, now in the collection of the Art Gallery of Western Australia (AGWA). McCubbin was becoming increasingly unwell and his health was aggravated by severe asthma which also curtailed his mobility, so the wonderfully wild acreage of his South Yarra home became the focus for his paintings. McCubbin was already famed for his evocative depictions of Australian life such as A bush burial, 1890 (Geelong Art Gallery); The Pioneers, 1904, (National Gallery of Victoria), and Violet and gold, 1911 (National Gallery of Australia); and the latter work, like Summer haze, displays the lighter palette he employed after visiting Europe for his first and only time in 1907, where the luminous artworks of J.M.W. Turner made a profound impression.   McCubbin and his wife Annie purchased a house in Mt Macedon in 1901 which they re-named ‘Fontainebleau’ and it was here that many of his larger works were painted. However, in 1905 he also rented a home in South Yarra before leaving for Europe; and on his return, McCubbin moved to nearby ‘Carlesberg’, a larger property in Kensington Road, which he retitled ‘The studio’ at outbreak of WWI due to its original Germanic name. This was a ‘charming old colonial house of stone, cool on the hottest days, perched right over the Yarra.’ 1 Family friend Bessie Colquhoun recalled that ‘Kensington Road had a rather wild old garden…(not) actually a garden, it was wild country, but it was very lovely … full of wild things, natural things, gums and all the things that grow out in the bush.’ 2 McCubbin was entranced by the property, painting many of its aspects throughout the remaining decade of his life. In Summer haze, he focuses on the lower trunks of two of the garden’s elder trees, whose edges dissolve in the crisp morning light, also seen to great effect in the larger Golden Sunlight, c.1914 (Castlemaine Art Museum and Gallery). The radiance of these paintings was achieved through a laborious process, as described by the artist’s son Louis, whereby ‘the pigment was mixed on the palette and applied with a knife... [On completion] the canvas was put in the window or out in the sun until the pigment became bone dry; it was then rubbed down with pumice-stone until the surface was smooth as glass. By this method the underneath colours would show through the over-paintings, and the effect of transparency and broken colour was accentuated.’ 3   Unfortunately, the stress of the disastrous war – which killed his brother and maimed one of his sons – exacerbated McCubbin’s ill health forcing him to take extended leave from his teaching position at the National Gallery Art School; but he continued creating as his youngest daughter Kathleen recalled: ‘(After taking) the short cut across to our place, across the paddocks… I would see my father on the verandah in his dressing-gown and black velvet beret, which he always put on when he went outside at that stage of his life… He was really in very poor health at this time, but he persisted and he kept on painting.’ 4 McCubbin’s debilitating asthma and a bout of pneumonia further weakened him and on 20 December 1917, he died from a heart attack aged sixty-two.   1. Frederick McCubbin. Letter to Tom Roberts, December 1907. Cited in: McKenzie, A., Frederick McCubbin 1855-1917: ‘The Proff’ and his art, Mannagum Press, Melbourne, 1990, p. 269 2. Bessie Colquhoun. Quoted in: ibid., p. 341 3. Louis McCubbin, Bulletin of the Art Gallery of South Australia, 1943. Cited in: Whitelaw, B., The art of Frederick McCubbin, National Gallery of Victoria, 1991, p.18  4. Kathleen Mangan. Quoted in: McKenzie, A., Frederick McCubbin, ibid., p. 208  ANDREW GAYNOR

        Deutscher and Hackett
      • FREDERICK McCUBBIN (1855-1917), The Pool 1905
        Jun. 28, 2023

        FREDERICK McCUBBIN (1855-1917), The Pool 1905

        Est: $18,000 - $25,000

        FREDERICK McCUBBIN (1855-1917) The Pool 1905 watercolour on paper 25.0 x 35.0 cm signed and dated lower left: F McCubbin/ 1905

        Menzies
      • Frederick McCubbin, Australia (1855 - 1917), Trees By A Pond, c. 1910, Oil on canvassed board
        Mar. 25, 2023

        Frederick McCubbin, Australia (1855 - 1917), Trees By A Pond, c. 1910, Oil on canvassed board

        Est: $18,000 - $25,000

        Frederick McCubbin Australia ((1855 - 1917)) Trees By A Pond, c. 1910 Oil on canvassed board Signed lower right

        Theodore Bruce
      • Frederick McCubbin
        Dec. 02, 2022

        Frederick McCubbin

        Est: $180 - $220

        4 Volumes on Frederick McCubbin 1) Frederick McCubbin: A Consideration by Alexander Colquhoun, Alexander McCubbin Publisher, paper booklet, 7 tipped in plates, stamp to front 2 and 3) 2 copies of Frederick McCubbin Exhibition Catalogue, National Gallery of Victoria 1955, paper booklet, acknowledgment by Daryl Lindsay, prepared by Ursula Hoff, caricature by David Low at the back, WM Houston Govt Printer Melbourne 4) McCubbin: Last Impressions 1907 - 17 by Anne Gray, NGA Publishing c.2009, softcover; good condition with some foxing and marks

        Sydney Rare Book Auctions
      • FREDERICK MCCUBBIN, KENSINGTON ROAD, SOUTH YARRA, C.1908
        Sep. 14, 2022

        FREDERICK MCCUBBIN, KENSINGTON ROAD, SOUTH YARRA, C.1908

        Est: $30,000 - $40,000

        FREDERICK MCCUBBIN (1855 - 1917) KENSINGTON ROAD, SOUTH YARRA, c.1908 oil on canvas on board 25.5 x 35.5 cm signed lower right: F McCubbin letter of authenticity attached verso, signed by Louis McCubbin, dated 1 March 1946 PROVENANCE Private collection Christie’s, Melbourne, 24 November 1999, lot 6 Private collection, Sydney ESSAY We are grateful to Brenda Martin Thomas, wife of the late David Thomas AM, for kindly allowing us to reproduce David's research and writing in this catalogue entry. Frederick McCubbin's move with his family to the rented property ‘Carlesberg’ in Kensington Road, South Yarra at the end of 1907 introduced some of the happiest and richest years in his art. Many of his finest paintings belong to this time – Winter Sunlight, 1908, in the collection of the Art Gallery of South Australia, Moonrise, 1909 in the National Gallery of Victoria, and Golden Sunlight, 1914, gifted to the Castlemaine Art Gallery and Historical Museum by Dame Nellie Melba, being among the best.  Having just returned from his first and only trip to England and the Continent, McCubbin’s practice was characterised by a lighter palette and a much looser application of paint, reflecting the liberating, painterly influence of his artistic mentor Romanticist J. M. W. Turner, as well as Corot, Monet and his English contemporary, George Clausen. That influence can be seen in these wonderfully atmospheric paintings such as the present Kensington Road, South Yarra, c.1908 which, each in their different ways dazzlingly colourful masterpieces, capture the feelings he expressed in a letter to his old friend Tom Roberts: ‘This is the loveliest place I have ever lived in. A charming old colonial house’ perched right over the Yarra with three acres of garden and trees... The winding stream, gums, osiers and wattle; interspersed. The night effects; sunrise, moonrise, we can see every way.’1 The old garden led to a paddock, which ran down to the Misses Armytage’s Como estate. The views over the Yarra were spectacular, whether towards Richmond as in The Coming of Spring, 1912, or the even more panoramic Flood Waters (also known as Rainbow over the Yarra), 1913 – both in the collection of the National Gallery of Australia, Canberra. A rainbow sometimes appeared in these later South Yarra views, a phenomenon of beauty and a metaphor of harmony. They had their genesis in numerous smaller sketches, spontaneous responses captured with a breadth of technique that gives them their special feeling of freedom and atmospheric delight.  Although McCubbin is principally known for large scale paintings which depict subjects drawn from Australian pioneering life, he considered his smaller, later works a significant aspect of his art. As Anne Gray, Curator of the National Gallery of Australia’s exhibition McCubbin: Last Impressions elaborates, ‘McCubbin’s art was most remarkable during his final years. The late McCubbin is one of the top 10 artists in Australia. His daring, his experimental painterliness, and his ability to capture the Australian landscape produced some incredible work.’2 1. McCubbin to Roberts, December 1907, Letters to Tom Roberts, vol. II, Mitchell Library, State Library of New South Wales, Sydney 2. Anne Gray cited in Perkin, C., ‘Such Dreams of Colour’, Weekend Australian, 8 – 9 August 2009, p.4

        Deutscher and Hackett
      • FREDERICK MCCUBBIN 1855-1917 (A Quiet Study) (1886) oil on canvas
        Aug. 24, 2022

        FREDERICK MCCUBBIN 1855-1917 (A Quiet Study) (1886) oil on canvas

        Est: $150,000 - $200,000

        FREDERICK MCCUBBIN 1855-1917 (A Quiet Study) (1886) oil on canvas 51 x 91.5 cm PROVENANCE: Frederick McCubbin, Melbourne The Bickley Family, Melbourne, acquired from the above Private Collection, Queensland, by descent from the above

        Smith & Singer
      • Frederick McCubbin (1855-1917) Fowls, Macedon, 1908
        Aug. 23, 2022

        Frederick McCubbin (1855-1917) Fowls, Macedon, 1908

        Est: $30,000 - $50,000

        Frederick McCubbin (1855-1917) Fowls, Macedon, 1908 signed lower right: 'F. McCubbin' 0il on canvasboard 25.5 x 35.5cm (10 1/16 x 14in). For further information on this lot please visit the Bonhams website

        Bonhams
      • Frederick McCubbin, Australia 1855 - 1917, Trees By A Pond, c. 1910, Oil on canvassed board
        Aug. 20, 2022

        Frederick McCubbin, Australia 1855 - 1917, Trees By A Pond, c. 1910, Oil on canvassed board

        Est: $20,000 - $25,000

        Frederick McCubbin Australia, 1855 - 1917 Trees By A Pond, c. 1910 Oil on canvassed board Signed lower right

        Theodore Bruce
      • FREDERICK MCCUBBIN, THE HILLSIDE, MACEDON, 1904
        Jul. 27, 2022

        FREDERICK MCCUBBIN, THE HILLSIDE, MACEDON, 1904

        Est: $150,000 - $200,000

        FREDERICK MCCUBBIN (1855 - 1917) THE HILLSIDE, MACEDON, 1904 oil on canvas 51.0 x 76.5 cm signed and dated lower left: F McCubbin . / 1904 bears inscription with title on backing verso: HILLSIDE, MACEDON CAT NO 12 PROVENANCE Private collection Danuta and Ted Rogowski, Melbourne  The Rogowski Collection, Leonard Joel, Melbourne, 23 February 1998, lot 39  The Cbus Collection of Australian Art, Melbourne, acquired from the above EXHIBITED probably: Mr Fred McCubbin's Exhibition of Australian Paintings, Upper Athanaeum Hall, Melbourne, 22 April 1904 Selected Australian Works of Art, Lauraine Diggins Gallery, Melbourne, May 1984, cat. 11 (illus. in exhibition catalogue) A Happy Life: Frederick Mccubbin's Small Paintings & Oil Sketches, National Gallery of Victoria, Melbourne, 1991, and touring, cat. 12 (bears inscription on backing board verso)  Overland, Latrobe Regional Gallery, Victoria, 10 March – 15 July 2012 Colour and Movement, Benalla Art Gallery, Victoria, 19 February – 9 June 2016 on long term loan about Geelong Gallery, Victoria  LITERATURE ‘Art Notes. Mr McCubbin’s Exhibition of Paintings’, The Age, Melbourne, 22 April 1904, p. 8 Art and Australia, Fine Arts Press, Sydney, vol. 21, no. 3, autumn 1984, p. 285 (illus.) Clark, J., A Happy Life, Frederick Mccubbin Small Paintings and Oil Sketches, National Gallery of Victoria, Melbourne, 1991, cat. 12, pp. 17 (illus.), 21  Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, pp. 16, 32 (illus.), 226  ESSAY We are grateful to Brenda Martin Thomas, wife of the late David Thomas AM, for kindly allowing us to reproduce David's research and writing in this catalogue entry. When Frederick McCubbin moved to Macedon in 1901 he entered upon, as his son Alexander later wrote, 'the most fertile and vigorous period of his life.’1 Some of his best and most popular works soon followed including his masterpiece, The Pioneer, 1904, 'an established favourite' within a short time of its acquisition in 1906 by the National Gallery of Victoria through the Felton Bequest.2 When Childhood Fancies, 1905 (private collection) was first exhibited, the art critic for The Age wrote enthusiastically, 'McCubbin has never painted a more happily inspired picture.’3 And in Lost, 1907, (National Gallery of Victoria), another gem from this period, both the narrative and the early morning light filtering through the Macedon bush captured the public's imagination. McCubbin devoted himself enthusiastically to the subjects around him – 'The bush up our way looks more charming than ever', McCubbin wrote to his friend Tom Roberts in 1904. 'Pictures everywhere.’4 As the gifted interpreter of the secluded glade, he delighted in capturing the play of light in the subtlest of colours, of lyrical moments of childhood and the heroic endeavours of the early settlers of Victoria, the triptych format as much in veneration of the bush itself as of the pioneers. Significantly, McCubbin named their family Macedon home 'Fontainebleau' after the forest in France, neighbouring the village of Barbizon and its school of plein air painters, and especially McCubbin's favourite, Corot. Devoting himself to painting in the open air, he even dug a trench in the ground so that he could reach the canvas tops of The Pioneer. Now in the middle years of his art, his style became broader and vision fresher in response to painting out-of-doors directly from the motif, encapsulated in the present Hillside, Macedon, 1904. The smoothly painted, tight style of earlier years gives way to the freer, textured brushstroke and palette knife – transitions which are clearly visible in the comparison of Macedon landscapes such as A Bush Scene, 1903 (Art Gallery of Ballarat), with two works closely related to the present, namely The Clearing, Mount Macedon, c.1904 and Sunny Glade.5 In these later paintings, the brushstrokes are applied with such verve that they seem to dance in spontaneous response to the scene. As with Sylvan Glade, Macedon, 1906 (Bendigo Art Gallery), the focus of attention has now moved from the figure to capturing the enchanting play of light, and the atmospheric qualities of his beloved bush at Mount Macedon. Indeed, as The Age writer remarked his review of McCubbin’s solo exhibition at the Athenaeum Gallery, Melbourne in 1904, ‘ The Hillside, Macedon, is a fine rendering of the radiant atmosphere of the mountains; the composition has a fine diversity, and the foreground, in its harmony of tone, is a delightful piece of colour… in what is one of the most notable of the one-man shows that have been in Melbourne.’6 1. McCubbin, A., 'Biographical Sketch of the Life of Frederick McCubbin', in MacDonald, J., The Art of Frederick McCubbin, Lothian, Melbourne, 1916, p. 65 2. 'Mr. McCubbin's Exhibition of Pictures', The Age, Melbourne, 17 May 1907 3. 'Exhibition of Arts and Crafts', The Age, 20 November 1905, p. 5 4. Letters to Tom Roberts, vol. II, Mitchell Library, State Library of New South Wales, Sydney, A2479, 7 November 1904 5. For The Clearing, Mount Macedon, c.1904, see Deutscher + Hackett, Melbourne, 8 December 2021, lot 9, and for Sunny Glade, see Sotheby's, Sydney, 25 August 2002, lot 13 6. ‘Art Notes. Mr McCubbin’s Exhibition of Paintings’, The Age, Melbourne, 22 April 1904, p.8 (as ‘The Hillside, Macedon’)

        Deutscher and Hackett
      • FREDERICK McCUBBIN (1855-1917), Richmond Quarry from South Bank of the Yarra c1910
        Jun. 29, 2022

        FREDERICK McCUBBIN (1855-1917), Richmond Quarry from South Bank of the Yarra c1910

        Est: $30,000 - $40,000

        FREDERICK McCUBBIN (1855-1917) Richmond Quarry from South Bank of the Yarra c1910 oil on canvas-board 20.5 x 28.5 cm signed lower right: McCubbin bears inscription verso: From Mr. McCubbin/ X'mas 1910.

        Menzies
      • FREDERICK McCUBBIN (1855 - 1917), Towards Richmond, from Kensington Road, South Yarra, oil on canvas laid down on composition board, signed lower left, 25 x 35cm. Provenance: Leonard Joel, Australian, New Zealand, English & European Drawings & Pain
        May. 29, 2022

        FREDERICK McCUBBIN (1855 - 1917), Towards Richmond, from Kensington Road, South Yarra, oil on canvas laid down on composition board, signed lower left, 25 x 35cm. Provenance: Leonard Joel, Australian, New Zealand, English & European Drawings & Pain

        Est: $30,000 - $40,000

        FREDERICK McCUBBIN (1855 - 1917), Towards Richmond, from Kensington Road, South Yarra, oil on canvas laid down on composition board, signed lower left, 25 x 35cm. Provenance: Leonard Joel, Australian, New Zealand, English & European Drawings & Paintings, Melbourne, 24/05/1973, Lot No. 25.

        Leski Auctions Pty Ltd
      • Frederick McCubbin (1855-1917)
        May. 24, 2022

        Frederick McCubbin (1855-1917)

        Est: $15,000 - $25,000

        Looking Towards Richmond oil on board, signed l.l.c. 'McCubbin'

        Shapiro Auctioneers
      • FREDERICK MCCUBBIN, LOOKING NORTH FROM MOUNT MACEDON, 1906
        May. 04, 2022

        FREDERICK MCCUBBIN, LOOKING NORTH FROM MOUNT MACEDON, 1906

        Est: $30,000 - $40,000

        FREDERICK MCCUBBIN (1855 - 1917) LOOKING NORTH FROM MOUNT MACEDON, 1906 oil on canvas on board 26.0 x 35.5 cm signed and dated lower right: F. McCubbin 1906 bears inscription verso: Looking North from / Mt Macedon / Sketch for large picture / at CTA Melb PROVENANCE Private collection Christie’s, Sydney, 22 October 1975, lot 377 Earl Gallery, Victoria Private collection, Victoria, acquired from the above EXHIBITED Exhibition of Australian Paintings, Earl Gallery, Victoria, nd, cat. 3 (illus. in exhibition catalogue, as ‘Looking North from Mt. Macedon’) RELATED WORK Looking North from Mount Macedon, 1906, oil on canvas, 62.0 x 123.0 cm, private collection

        Deutscher and Hackett
      • FREDERICK MCCUBBIN, BUSH LANDSCAPE, MACEDON, 1905
        May. 04, 2022

        FREDERICK MCCUBBIN, BUSH LANDSCAPE, MACEDON, 1905

        Est: $60,000 - $80,000

        FREDERICK MCCUBBIN (1855 - 1917) BUSH LANDSCAPE, MACEDON, 1905 oil on canvas 40.0 x 66.5 cm signed and dated lower right: F McCubbin / 1905 framer's label attached verso: John Thallon, Melbourne PROVENANCE Joseph Brown Gallery, Melbourne Private collection, Victoria, acquired from the above in July 1979 EXHIBITED Spring Exhibition, Joseph Brown Gallery, Melbourne, 17 – 30 October 1979, cat. 39A (illus. in exhibition catalogue, as ‘Bushland’) ESSAY We are grateful to Brenda Martin Thomas, wife of the late David Thomas AM, for kindly allowing us to reproduce David's research and writing in this catalogue entry. When Frederick McCubbin moved to Macedon in 1901 he entered upon, as his son Alexander later wrote, 'the most fertile and vigorous period of his life.’1 Some of his best and most popular works soon followed including his masterpiece, The Pioneer, 1904, 'an established favourite' within a short time of its acquisition in 1906 by the National Gallery of Victoria through the Felton Bequest.2 When Childhood Fancies, 1905 (private collection) was first exhibited, the art critic for The Age wrote enthusiastically, 'McCubbin has never painted a more happily inspired picture.’3 And in Lost, 1907, (National Gallery of Victoria), another gem from this period, both the narrative and the early morning light filtering through the Macedon bush captured the public's imagination. McCubbin devoted himself enthusiastically to the subjects around him – 'The bush up our way looks more charming than ever', McCubbin wrote to his friend Tom Roberts in 1904. 'Pictures everywhere.’4 As the gifted interpreter of the secluded glade, he delighted in capturing the play of light in the subtlest of colours, of lyrical moments of childhood and the heroic endeavours of the early settlers of Victoria, the triptych format as much in veneration of the bush itself as of the pioneers. Significantly, McCubbin named their family Macedon home 'Fontainebleau' after the forest in France, neighbouring the village of Barbizon and its school of plein air painters, especially McCubbin's favourite, Corot. Devoting himself to painting in the open air, he even dug a trench in the ground so that he could reach the canvas tops of The Pioneer. Now in the middle years of his art, his style became broader and vision fresher in response to painting out-of-doors directly from the motif, as readily seen here in Bush Landscape, Macedon, 1905. The smoothly painted, tight style of earlier years gave way to the freer, textured brushstroke and palette knife. These transitions are clearly visible in the comparison of Macedon landscapes such as A Bush Scene, 1903 (Art Gallery of Ballarat), and two works closely related to the painting on offer – The Hillside, Macedon 1904 (private collection, Melbourne), and Sunny Glade.5 In these later paintings, the brushstrokes are applied with such verve that they seem to dance in spontaneous response to the scene. The focus of attention had now moved from the figure to the enchanting play of light, as in Sylvan Glade, Macedon, 1906, in the Bendigo Art Gallery. In radiant sunlight or in shade, each of these paintings captures the characteristic qualities of his beloved bush at Mount Macedon, one of his most fruitful painting grounds. 1. McCubbin, A., 'Biographical Sketch of the Life of Frederick McCubbin', in MacDonald, J., The Art of Frederick McCubbin, Lothian, Melbourne, 1916, p. 65 2. 'Mr. McCubbin's Exhibition of Pictures', The Age, Melbourne, 17 May 1907 3. 'Exhibition of Arts and Crafts', The Age, 20 November 1905, p. 5 4. Letters to Tom Roberts, vol. II, Mitchell Library, State Library of New South Wales, Sydney, A2479, 7 November 1904 5. For The Hillside, Macedon see Clark, J., 'A Happy Life': Frederick McCubbin's Small Paintings & Oil Sketches, National Gallery of Victoria, Melbourne, 1991, p. 17, p. 12 (illus.), and for Sunny Glade, Sotheby's, Sydney, 25 August 2002, lot 13

        Deutscher and Hackett
      • FREDERICK MCCUBBIN 1855-1917 Boat Sheds, Williamstown (1908) oil on canvasboard
        Apr. 12, 2022

        FREDERICK MCCUBBIN 1855-1917 Boat Sheds, Williamstown (1908) oil on canvasboard

        Est: $40,000 - $60,000

        FREDERICK MCCUBBIN 1855-1917 Boat Sheds, Williamstown (1908) oil on canvasboard signed 'McCubbin' lower left 25 x 35 cm PROVENANCE Frederick McCubbin, Melbourne Private Collection, Melbourne, by descent from the above Australian Paintings, Leonard Joel, Melbourne, 3 November 1976, lot 107, 'Harmony in Blue, Williamstown', illustrated Private Collection, Melbourne

        Smith & Singer
      • FREDERICK McCUBBIN (1855-1917), Cottage 1909
        Mar. 31, 2022

        FREDERICK McCUBBIN (1855-1917), Cottage 1909

        Est: $25,000 - $35,000

        FREDERICK McCUBBIN (1855-1917) Mezger’s Mill 1900 oil on canvas 25.5 x 30.0 cm signed and dated lower right: F McCubbin/ 1900

        Menzies
      • FREDERICK McCUBBIN (1855-1917), Artists' Day c1915
        Mar. 31, 2022

        FREDERICK McCUBBIN (1855-1917), Artists' Day c1915

        Est: $10,000 - $15,000

        FREDERICK McCUBBIN (1855-1917) Artists' Day c1915 oil on card 22.0 x 19.0 cm (irreg.) signed and inscribed lower centre: F McCubbin Artists' DAY

        Menzies
      • FREDERICK MCCUBBIN, WILLIAMSTOWN LANDSCAPE, 1909
        Feb. 22, 2022

        FREDERICK MCCUBBIN, WILLIAMSTOWN LANDSCAPE, 1909

        Est: $400,000 - $600,000

        FREDERICK MCCUBBIN (1855 - 1917) WILLIAMSTOWN LANDSCAPE, 1909 oil on canvas 61.0 x 91.5 cm signed and dated lower left: F McCubbin / 1909 PROVENANCE The artist, until 1917 Thence by descent Louis McCubbin, Melbourne National Gallery of South Australia, Adelaide, acquired from the above in 1952 Company collection, Sydney, acquired from the above in 1993 The National Australia Bank Art Collection, acquired from the above in 1995 (label attached verso) EXHIBITED Frederick McCubbin Exhibition to Mark the Centenary of the Artist's Birth in 1855, National Gallery of Victoria, Melbourne, 4 November – 31 December 1955, cat. 29, and touring to Art Gallery of South Australia, Adelaide, January – February 1956, and the Art Gallery of New South Wales, Sydney, March 1956 Making Melbourne: Marvellous Melbourne - Industrial City, Gold Treasury Museum, Melbourne, 5 June – 5 December 2003 (as 'Williamstown') LITERATURE Francis, I., 'On Exhibition at Gallery', The News, Adelaide, 22 October 1952, p. 2 (illus.) 'Recent Purchases', The Advertiser, Adelaide, 22 October 1952, p. 2 George, E., 'SA Purchases', The Mail, Adelaide, 1 November 1952, p. 42 ‘“Williamstown Landscape”, by Frederick McCubbin (1855–1917)’, Quarterly Bulletin, National Gallery of South Australia, Adelaide, vol. 14, no. 2, October 1952, p. 4 (illus.) Hoff, U., Frederick McCubbin Exhibition to Mark the Centenary of the Artist’s Birth in 1855, National Gallery of Victoria, Melbourne, 1955, cat. 29 (illus.) Hoff, U., ‘The Phases of McCubbin’s Art’, Meanjin, Melbourne, vol. 15, no. 3, September 1956, p. 305 Galbally, A., Frederick McCubbin, Hutchinson, Melbourne, 1981, pl. 36, pp. 135, 136 (illus.), 150, 151 Mackenzie, A., Frederick McCubbin 1855 – 1917: 'The Proff' and his art, Mannagum Press, Melbourne, 1990, p. 204 Whitelaw, B., The Art of Frederick McCubbin, National Gallery of Victoria, Melbourne, 1991, p. 120 Ingram, T., ‘Moving The Masterpieces’, Australian Financial Review, Sydney, 10 March 1994 Dodgshun, B., 'On loan: Williamstown, 1909 by Frederick McCubbin', Treasured Moments: Newsletter for Staff at the Gold Treasury Museum, Melbourne, 2005 RELATED WORK Study for Williamstown Landscape, c.1909, oil on canvas board, 24.0 x 34.0 cm, private collection Williamstown, 1909, oil on canvas, 33.0 x 48.0 cm, private collection Wharves at Williamstown, c.1909, whereabouts unknown, illus., in Melba’s Gift Book of Australian Art and Literature, George Robertson & Co. Pty. Ltd., Melbourne, c.1915, p. 144 ESSAY The sparkling waters of Melbourne’s bayside suburb Williamstown were for Frederick McCubbin like those of Sydney and its harbour for Arthur Streeton. His enthusiasm can still be felt today in the lively seascapes and letter of the summer of 1909 to his old friend Tom Roberts:                 I have been down at Williamstown for a few poschards [rough sketches], my dear boy just like Venice, lovely colour. Water and sky and an old ship… the older I get the wider my interest grows in all life, colour, charm.1   Born in King Street, not far from the Melbourne docks, McCubbin’s interest in ships and docklands began early. It continued when, as a teenager, he drove one of his father’s bread carts ‘through North Melbourne down to the boats at the wharves’.2 View of the New Dock, 1880 (private collection) is one of his earliest oil paintings. Others followed – The City’s Toil, 1887 of Smith’s Wharf Yarra Yarra (Wesfarmers Collection) and Melbourne 1888, 1888 (National Gallery of Victoria, Melbourne). The Williamstown series, however, had its more immediate genesis in the oil sketches painted during McCubbin’s 1907 trip to England – of sunlit waters in The Blue Mediterranean, c.1907 (formerly in the collection of the late Professor Bernard Smith, Melbourne); Mount Vesuvius, Naples, c.1907 (Deutscher and Hackett, Melbourne, 26 August 2009, lot 50); and busy shipping scenes on the River Thames, as in The Pool of London, 1907 (National Gallery of Victoria).   Of the many colourful works McCubbin painted at Williamstown in that summer of 1909, Williamstown Landscape, 1909 is one of the finest. A favourite spot, he painted four versions  – Sketch for ‘Williamstown Landscape’; Williamstown; Wharves at Williamstown; and Williamstown Landscape, detailed above. Working out of doors, McCubbin made small, atmospheric sketches in oil (usually 25 x 35 centimetres), translating select ones onto larger canvases in the studio, as in our painting. Introduced by Study for ‘Williamstown Landscape’, c.1909, its bright colours are deftly handled with broad brush and palette knife. Prestigious previous ownership includes the artist, Esther Paterson, and Melbourne art dealer Georges Mora. Next, Williamstown, 1909, also of distinguished provenance, having been purchased from the artist by Lawrence Abrahams, is larger in size and painted on canvas. It and Wharves at Williamstown (illustrated in Melba’s Gift Book) are closest to the painting on offer.   Although again larger, Williamstown Landscape, 1909 remains medium of size, retaining the empathy of the smaller work. The humanising feeling continues through the centrally placed two figures in the boat. (The figures were probably introduced from another sketch, Figure Group, Williamstown, c. 1909, the background buildings in the sketch being similar to those of Williamstown Landscape, 1909.3) Key placement of figures, particularly children, in the landscape is characteristic McCubbin, seen in such masterly paintings as Lost, 1886 (National Gallery of Victoria) and throughout his oeuvre. In Williamstown Landscape, 1909 the narratives of the early years give way to the bravura handling of colour and light of his later style – the red shirt of one, and the sunlight striking the white hat and shirt of the other. And all is enveloped in a luminous atmosphere, almost aqueous. Blue skies and waters predominate throughout these paintings. One is even acknowledged with the title Harmony in Blue, Williamstown, 1909 (formerly George Page Cooper collection, Melbourne).   Significantly, when the National Gallery of Victoria held its McCubbin centenary exhibition in 1955, Williamstown Landscape, 1909 and Williamstown, 1909, the study from the Abrahams’ collection, were the only two selected to represent the series. Our painting also had the distinction of being one of the few illustrated in the catalogue.4 Curated by Ursula Hoff, the following year Meanjin published her perceptive article on McCubbin, referring to his use of the open-air sketch preparatory to the larger canvases ‘painted in the studio, in a manner combining the broken colour of Impressionism with poetic romanticism.’ She continued:   One such sketch was Williamstown 1909 (Harry Abrahams Esq.). It was to be seen in the Centenary Exhibition alongside the larger work from the Adelaide National Gallery. The open-air sketch, with its very bright blues and greens intermingling with spots of red shows an even more romantic heightening of colour than the finished picture, in which both colour and composition have been slightly conventionalized. …   McCubbin saw Williamstown through the eyes of Turner.5   McCubbin’s life-long interest in J.M.W. Turner – especially his late works and watercolours of Venice – increased considerably after being admired at first hand during his visit to England in 1907. Describing them as ‘dreams of colour’, Williamstown gave McCubbin the opportunity to paint his own spontaneous works of sparkling light.6 Some twenty-five Williamstown subjects are known, twenty-three in oil, two in watercolour. Most were painted on sketching tablets. The watercolours, Williamstown, c. 1909 (Art Gallery of South Australia) and Mid-Summer Glow, c.1909, (formerly McCubbin Family) are highly Turneresque.7 Complete within themselves, they also served as studies for the major oil painting of the series, The Old Ship, Williamstown, c.1909 – 15 (private collection). Its view is taken from the other side of the sheds in our painting.   Williamstown Landscape, 1909 remained in the McCubbin family collection until its sale to the Art Gallery of South Australia in 1952. As McCubbin’s son, Louis, had been many years director of the Gallery previously, he would have ensured that it acquired something special. This is confirmed by its warm reception on first public showing. The Adelaide News described it as ‘an excellent medium-sized’ work.8 And the Adelaide Mail claimed it to be ‘as fine as the well-known “Stone Crusher” in the same gallery’.9 The Gallery’s Bulletin for October 1952 hailed it as ‘an excellent example of [McCubbin’s] late period.’ It continued:                 The serenity of early summer and the glow of afternoon light are beautifully expressed in this canvas by means of broken touches of opalescent colour, laid on with a palette-knife. The mood is that of romantic impressionism.10   Williamstown Landscape, 1909 with its romance of light and colour represents a singular work in McCubbin’s oeuvre.   1. Frederick McCubbin letter to Tom Roberts, 27 January 1909 ( Letters to Tom Roberts, vol. II, no. 18, Mitchell Library, State Library of New South Wales) 2. MacDonald, J., The Art of Frederick McCubbin, Lothian Press, Melbourne, 1916, p. 40 3. Spring Exhibition, Joseph Brown Gallery, Melbourne, 1 – 10 September 1980, cat. 62 (illus.), as ‘Williamstown’ 4. Frederick McCubbin Exhibition, To Mark The Centenary of the Artist’s Birth in 1855, National Gallery of Victoria, Melbourne, 1955, cats. 28 and 29 5. Hoff, U., ‘The Phases of McCubbin’s Art’, Meanjin, Melbourne, vol. 15, no. 3, 1956, p. 305 6. Frederick McCubbin letter to Annie McCubbin, 19 July 1907, McCubbin Papers, La Trobe Library, State Library of Victoria, MS8525La 7.  Mid-Summer Glow, c.1909, watercolour, 23 x 24 cm, sold Christie’s, Melbourne, 3 May 1988, lot 140 8. Francis, I., ‘Aust. pictures help gallery’, The News, Adelaide, 22 October 1952, p. 2 9. George, E., ‘Art’, The Mail, Adelaide, 1 November 1952, p. 42 10. ‘ “Williamstown Landscape” by Frederick McCubbin (1855-1917)’, Bulletin of the National Gallery of South Australia, vol. 14, no. 2, October 1952, np. (illus.)   DAVID THOMAS

        Deutscher and Hackett
      • FREDERICK McCUBBIN, DUDLEY FLATS, WEST OF MELBOURNE,
        Dec. 08, 2021

        FREDERICK McCUBBIN, DUDLEY FLATS, WEST OF MELBOURNE,

        Est: $15,000 - $20,000

        FREDERICK McCUBBIN (1855 - 1917) DUDLEY FLATS, WEST OF MELBOURNE oil on canvas 25.5 x 36.0 cm signed lower right: F McCubbin PROVENANCE Malvern Fine Art Gallery, Victoria, July 1981 (label attached verso) Private collection, Melbourne Menzies, Sydney, 8 December 2011, lot 91 Private collection, Melbourne Lawson~Menzies, Sydney, 13 February 2013, lot 31 Private collection, Sydney

        Deutscher and Hackett
      • FREDERICK McCUBBIN, THE CLEARING, MT. MACEDON, c.1904
        Dec. 08, 2021

        FREDERICK McCUBBIN, THE CLEARING, MT. MACEDON, c.1904

        Est: $30,000 - $40,000

        FREDERICK McCUBBIN (1855 - 1917) THE CLEARING, MT. MACEDON, c.1904 oil on canvas board 35.5 x 25.5 cm signed lower left: F McCubbin PROVENANCE 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. 80 (label attached verso, as ‘In the Dandenongs’) Three Varied Exhibitions Of Fine Australian Traditional Art, Bugle Galleries, Adelaide, 24 February – 30 March 1976 (as ‘Dandenong Hillside’) RELATED WORK The Hillside, Macedon, 1904, oil on canvas, 51.2 x 76.4 cm, private collection, illus. in Clark, J., 'A Happy Life': Frederick McCubbin's Small Paintings & Oil Sketches, National Gallery of Victoria, Melbourne, 1991, p. 17 ESSAY When Frederick McCubbin moved to Macedon in 1901 he entered upon, as his son Alexander later wrote, 'the most fertile and vigorous period of his life.’1 Some of his best and most popular works soon followed including his masterpiece,  The Pioneer 1904, 'an established favorite' within a short time of its acquisition in 1906 by the National Gallery of Victoria through the Felton Bequest.2 When  Childhood Fancies 1905 (private collection) was first exhibited, the art critic for  The Age wrote enthusiastically, 'McCubbin has never painted a more happily inspired picture .’3 And in  Lost 1907, (National Gallery of Victoria), another gem from this period, both the narrative and the early morning light filtering through the Macedon bush captured the public's imagination. McCubbin devoted himself enthusiastically to the subjects around him - 'The bush up our way looks more charming than ever', McCubbin wrote to his friend Tom Roberts in 1904. 'Pictures everywhere.’4 As the gifted interpreter of the secluded glade, he delighted in capturing the play of light in the subtlest of colours, of lyrical moments of childhood and the heroic endeavours of the early settlers of Victoria, the triptych format as much in veneration of the bush itself as of the pioneers. Significantly, McCubbin named their family Macedon home 'Fontainebleau' after the forest in France, neighbouring the village of Barbizon and its school of  plein air painters, especially McCubbin's favourite, Corot. Devoting himself to painting in the open air, he even dug a trench in the ground so that he could reach the canvas tops of  The Pioneer. Now in the middle years of his art, his style became broader and vision fresher in response to painting out-of-doors directly from the motif, as readily seen in  The Clearing, Mount Macedon, c.1904. The smoothly painted tight style of earlier years gave way to the freer, textured brushstroke and palette knife. These transitions are clearly visible in the comparison of Macedon landscapes such as  A Bush Scene 1903, in the collection of the Art Gallery of Ballarat, and two works close to the painting on offer -  The Hillside, Macedon 1904, private collection, Melbourne, and  Sunny Glade.5 In these later paintings the brushstrokes are applied with such verve that they seem to dance in spontaneous response to the scene. The focus of attention had now moved from the figure to the enchanting play of light, as in  Sylvan Glade, Macedon 1906, in the Bendigo Art Gallery. In radiant sunlight or in shade, each of these paintings captures the characteristic qualities of his beloved bush at Mount Macedon, one of his most fruitful paintings grounds. 1. McCubbin, A., 'Biographical Sketch of the Life of Frederick McCubbin', in MacDonald, J.,  The Art of Frederick McCubbin, Lothian, Melbourne, 1916, p. 65 2. 'Mr. McCubbin's Exhibition of Pictures',  The Age, Melbourne, 17 May 1907 3. 'Exhibition of Arts and Crafts',  The Age, 20 November 1905, p. 5 4. Letters to Tom Roberts, vol. II, Mitchell Library, State Library of New South Wales, Sydney, A2479, 7 November 1904 5. For  The Hillside, Macedon see Clark, J.,  'A Happy Life': Frederick McCubbin's Small Paintings & Oil Sketches, National Gallery of Victoria, Melbourne, 1991, p. 17, p. 12 (illus.), and for  Sunny Glade, Sotheby's, Sydney, 25 August 2002, lot 13 DAVID THOMAS

        Deutscher and Hackett
      • FREDERICK MCCUBBIN 1855-1917 Portrait of My Mother (1900) oil on canvas
        Nov. 16, 2021

        FREDERICK MCCUBBIN 1855-1917 Portrait of My Mother (1900) oil on canvas

        Est: $50,000 - $70,000

        FREDERICK MCCUBBIN 1855-1917 Portrait of My Mother (1900) oil on canvas signed 'F McCubbin' lower right 50.6 x 37.8 cm frame: original, maker unknown, Melbourne PROVENANCE Frederick McCubbin, Melbourne Private Collection, Victoria, by descent from the above LITERATURE Andrew McKenzie, Frederick McCubbin 1855-1917: 'The Proff' and His Art, Mannagum Press, Melbourne, 1990, p. 19 (illustrated)

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 A Forest Glade 1913 oil on canvas
        Nov. 16, 2021

        FREDERICK MCCUBBIN 1855-1917 A Forest Glade 1913 oil on canvas

        Est: $500,000 - $700,000

        FREDERICK MCCUBBIN 1855-1917 A Forest Glade 1913 oil on canvas signed and dated 'Fred McCubbin / 1913' lower right 118 x 92.5 cm PROVENANCE Frederick McCubbin, Melbourne Louis McCubbin, Melbourne, by descent from the above Magnificent Collection of Pictures, Leonard Joel, Melbourne, 9 June 1932, lot 118 Fine Collection Pictures, Leonard Joel, Melbourne, 30 September 1936, lot 40 Ernest Hughes, Melbourne, until Authentic Antiques & Art of Canon Hughes, Leonard Joel, Melbourne, 7 October 1937, lot 275 Cyril Steele, Melbourne Magnificent Collection of Australian Pictures [Estate of the late H. Cyril Steele; Estate of the late Mrs E.C. Traill; and other Estate], Leonard Joel, Melbourne, 3 October 1946, lot 26 Lorna Moffat-Pender, Melbourne "Court House", 9 Gordon Grove, South Yarra to the order of Mrs I. Moffat-Pender owing to the sale of the property and her early departure for England, Leonard Joel, Melbourne, 19 November 1951, lot 48 Queensland Art Gallery, Brisbane, acquired from the above, until Australian + International Art, Deutscher-Menzies, Sydney, 10 March 2004, lot 69, 'The Glade', illustrated Private Collection, Melbourne, acquired from the above EXHIBITED On long-term loan to Horsham Regional Gallery, Horsham, until November 2020 LITERATURE Ann Galbally, Frederick McCubbin (rev. ed.), Hutchinson Australia, Melbourne, 1985, p. 154 Lisa Sullivan, Frederick McCubbin: Whisperings in Wattle Boughs, Geelong Gallery, Geelong, 2021, p. 30 (illustrated)

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 Looking Towards Richmond from Kensington Road, South Yarra watercolour on paper
        Nov. 16, 2021

        FREDERICK MCCUBBIN 1855-1917 Looking Towards Richmond from Kensington Road, South Yarra watercolour on paper

        Est: $15,000 - $20,000

        FREDERICK MCCUBBIN 1855-1917 Looking Towards Richmond from Kensington Road, South Yarra watercolour on paper signed and dated 'F McCubbin' lower right 32 x 50 cm frame: original, S. Glasier & Co., Melbourne PROVENANCE Frederick McCubbin, Melbourne Private Collection, Victoria, by descent from the above

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 The Letter 1884 oil on canvas
        Nov. 16, 2021

        FREDERICK MCCUBBIN 1855-1917 The Letter 1884 oil on canvas

        Est: $300,000 - $400,000

        FREDERICK MCCUBBIN 1855-1917 The Letter 1884 oil on canvas signed and dated 'F McCubbin 1884' lower right 45.5 x 22.6 cm frame: original, John Thallon, Melbourne PROVENANCE Frederick McCubbin, Melbourne Private Collection, Victoria, by descent from the above LITERATURE David Thomas, 'Frederick McCubbin', Art and Australia, Ure Smith, Sydney, June 1969, p. 66 Jane Clark and Bridget Whitelaw, Golden Summers: Heidelberg and Beyond, International Cultural Corporation of Australia Limited, Sydney, 1985, p. 43 Andrew McKenzie, Frederick McCubbin 1855-1917: 'The Proff' and His Art, Mannagum Press, Melbourne, 1990, p. 38

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 Garden Study, Brighton 1899 watercolour on paper
        Nov. 16, 2021

        FREDERICK MCCUBBIN 1855-1917 Garden Study, Brighton 1899 watercolour on paper

        Est: $5,000 - $7,000

        FREDERICK MCCUBBIN 1855-1917 Garden Study, Brighton 1899 watercolour on paper signed and dated 'F McCubbin. / 1899' lower left 21.5 x 27 cm PROVENANCE Frederick McCubbin, Melbourne Private Collection, Melbourne Private Collection, Sydney, by descent from the above Private Collection, Sydney, by descent from the above

        Smith & Singer
      • FREDERICK McCUBBIN, A VIEW OF MELBOURNE FROM THE RIVER, c.1885
        Nov. 10, 2021

        FREDERICK McCUBBIN, A VIEW OF MELBOURNE FROM THE RIVER, c.1885

        Est: $7,000 - $10,000

        FREDERICK McCUBBIN (1855 - 1917) A VIEW OF MELBOURNE FROM THE RIVER, c.1885 pencil and ink on paper 20.5 x 31.5 cm (sheet) signed lower right: F. McCubbin inscribed with title verso: A View of Melbourne from the River PROVENANCE Private collection Deutscher Fine Art, Melbourne Private collection, Sydney Thence by descent Private collection, Sydney EXHIBITED A Very Private Collection, S.H. Ervin Gallery, Sydney, 15 June – 15 July 1990, cat. 45 (as ‘Dock Scene, Melbourne’)

        Deutscher and Hackett
      • FREDERICK McCUBBIN, COLLINS STREET, MELBOURNE, c.1915
        Nov. 10, 2021

        FREDERICK McCUBBIN, COLLINS STREET, MELBOURNE, c.1915

        Est: $40,000 - $60,000

        FREDERICK McCUBBIN (1855 - 1917) COLLINS STREET, MELBOURNE, c.1915 oil on canvas board 25.5 x 35.5 cm signed lower left: F McCubbin PROVENANCE Sir Keith Murdoch, Cruden Farm, Victoria Thence by descent Dame Elisabeth Murdoch, Cruden Farm, Victoria Thence by descent Private collection, Melbourne RELATED WORK Collins Street, c.1915, oil on canvas board, 25.5 x 35.5 cm, in the collection of Geelong Gallery, Victoria Collins Street, c.1915, oil on canvas board, 25.5 x 30.5 cm, in the collection of National Gallery of Victoria, Melbourne ESSAY In 2009, the National Gallery of Australia exhibition , McCubbin:  Last Impressions  1907–17, showcased the work produced by Frederick McCubbin during the final eleven years of his life. Curated by Anne Gray, the exhibition featured three Collins Street sketches all painted around 1915 on 10 x 12-inch canvas board. Notably, this group of smaller Melbourne cityscapes – which included the nearby Flinders Street subjects – were the most abstract in the exhibition.   The following excerpts are from Anne Gray’s catalogue essays and notes accompanying the group of Collins Street, c.1915 works:   ‘…In 1915, at the age of 60, McCubbin purchased an old Renault, and became, according to Daniel Thomas, ‘a modern motorised McCubbin’. The car was used for painting excursions into the city, and McCubbin began a new series of works of this most modern of subjects. He delighted in capturing the flickering light, and the almost dissolving, abstract forms of the city’s activity.   As his daughter Kathleen recalled, ‘We parked near the top end of Collins Street, facing the city. The latish afternoon sun was shining brilliantly on the tops of the buildings, and this was the ideal subject for one of father’s swift sketches. Hastily taking out his palette from the box he always carried in the car, he squeezed out blobs of paint and swiftly blended the colours together with his palette knife. Within moments the sky and the illuminated facades began to take shape on the sketching board (Mangan, 1984, p 50).’ 1   ‘Long regarded as one of Melbourne’s most fashionable and cosmopolitan streets – the address of some of the city’s most exclusive retailers and clubs, as well as medical, financial and cultural institutions – Collins Street was the subject of a number of paintings from McCubbin’s later years, continuing his longstanding interest in urban vistas.   As one of the principal east-west thoroughfares in Robert Hoddle’s original city grid of 1837, Collins Street was at the peak of its splendour on the mid 1880s when McCubbin took up his appointment as drawing master at the National Gallery’s school. Throughout his career, he maintained an association with a number of premises and organisations located on the street (or within adjoining arcades), including Grosvenor Chambers, Athenaeum Hall, the Savage Club and the offices of the Australasian Sketcher.’2   Commenting on McCubbin’s painting technique for Collins Street, c. 1915 (National Gallery of Victoria) Anne Gray noted: ‘…the surface of the work is encrusted with small, jewel like dabs of paint. Other areas are painted thinly or rubbed back. McCubbin has also scraped into the paint with the handle of the brush to create highlights. The scene is highly abstracted, the people on the street mere vertical notations of paint, the facades of the buildings appearing to dissolve into pure colour and pattern, recalling Monet’s series of paintings of the façade of Rouen cathedral.‘ 3 1. Gray, A.,  McCubbin: Last Impressions 1907-17, National Gallery of Australia, Canberra, 2009, p. 145 2. Ibid., p.147 3. Ibid., p.145

        Deutscher and Hackett
      • FREDERICK MCCUBBIN (1855-1917) Untitled (Bush Study, Mount Macedon) 1907
        Oct. 24, 2021

        FREDERICK MCCUBBIN (1855-1917) Untitled (Bush Study, Mount Macedon) 1907

        Est: $12,000 - $15,000

        FREDERICK MCCUBBIN (1855-1917) Untitled (Bush Study, Mount Macedon) 1907 oil on canvas board signed and dated lower right: F McCubbin 1907 35.5 x 25.5cm PROVENANCE Leonard Joels, 1960s Dr John Tange, Hawthorn, Melbourne Private Collection, Melbourne NOTE Certificate of Authenticity from John R Perry, Fine Art Conservator is supplied with the painting

        Gibson's Auctions
      • Frederick McCubbin (1855-1917) Study for 'The City's Toil', c.1887
        Apr. 22, 2021

        Frederick McCubbin (1855-1917) Study for 'The City's Toil', c.1887

        Est: $45,000 - $55,000

        Frederick McCubbin (1855-1917) Study for 'The City's Toil', c.1887 signed lower right: 'F.McCubbin' oil on canvas 30.5 x 51.0cm (12 x 20 1/16in). For further information on this lot please visit the Bonhams website

        Bonhams
      • FREDERICK McCUBBIN, BURNLEY, c.1914
        Apr. 21, 2021

        FREDERICK McCUBBIN, BURNLEY, c.1914

        Est: $30,000 - $40,000

        FREDERICK McCUBBIN (1855 – 1917) BURNLEY, c.1914 oil on canvas board 25.5 x 35.5 cm signed lower left: F McCubbin bears inscription verso: F. McCubbin / Burnley / c.1914 (indistinct) PROVENANCE Hugh McCubbin Dr John McCubbin, until 1976 Leonard Joel, Melbourne, 4 November 1976, lot 236 (as 'South Yarra Landscape') John H. Robinson Jean Robinson, thence by descent Private collection, Victoria RELATED WORK Coming of Spring, 1912, oil on canvas, 69.0 x 102.0 cm, in the collection of the National Gallery of Australia, Canberra ESSAY Burnley, c.1914 is one of a series of small studies that Frederick McCubbin made of the landscape and buildings around Burnley, many of which feature the Burnley quarry. After his return from Europe at the end of 1907, McCubbin moved with his family to the rented property ‘Carlesberg’, a historic house at 42 Kensington Road, South Yarra, which offered a large garden and views across the Yarra river, to the city and the nearby suburb of Burnley. McCubbin’s paintings, after his only trip to Europe, were characterised by a lighter palette and a much looser application of paint, reflecting the influence of artists such as the Romanticist J.M.W Turner, as well as Corot, Monet and his English contemporary, George Clausen. The use of a palette knife is also evident in many of these paintings from the last years of his career. Although McCubbin is principally known for large scale paintings which depict subjects drawn from Australian pioneering life, he considered his smaller works a significant aspect of his art. As Anne Gray, Curator of the National Gallery of Australia’s exhibition McCubbin: Last Impressions has indicated, ‘McCubbin’s art was most remarkable during his final years. The late McCubbin is one of the top 10 artists in Australia. His daring, his experimental painterliness, and his ability to capture the Australian landscape produced some incredible work.’1 1. Anne Gray cited in Perkin, C., ‘Such Dreams of Colour’, Weekend Australian, 8-9 August 2009, p.4

        Deutscher and Hackett
      • FREDERICK MCCUBBIN 1855-1917 Winter at Nunawading 1886 oil on canvas
        Apr. 20, 2021

        FREDERICK MCCUBBIN 1855-1917 Winter at Nunawading 1886 oil on canvas

        Est: $200,000 - $300,000

        FREDERICK MCCUBBIN 1855-1917 Winter at Nunawading 1886 oil on canvas signed and dated 'F McCubbin / 1886' lower right 60.5 x 87 cm PROVENANCE: Frederick McCubbin, Melbourne Private Collection, Melbourne, by descent from the above Australian Paintings, Christie's Australia, Sydney, 3 October 1972, lot 127, illustrated Private Collection, Sydney, acquired from the above Private Collection, Sydney, by descent from the above EXHIBITIONS: Summer Exhibition, Australian Artists' Association, Buxton's Art Gallery, Melbourne, 4 March 1887, no. 7, £31.10.0 LITERATURE: 'Australian Artists' Association. Summer Exhibition', The Argus, Melbourne, 5 March 1887, p. 14 'Australian Artists' Association', The Herald, Melbourne, 7 March 1887, p. 4 'Australian Artists' Association. Summer Exhibition', The Australasian, Melbourne, 19 March 1887, p. 4

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 What the Little Girl Saw in the Bush 1904 oil on canvas
        Apr. 20, 2021

        FREDERICK MCCUBBIN 1855-1917 What the Little Girl Saw in the Bush 1904 oil on canvas

        Est: $1,200,000 - $1,600,000

        FREDERICK MCCUBBIN 1855-1917 What the Little Girl Saw in the Bush 1904 oil on canvas signed and dated 'F McCubbin / 1904' lower right 96.5 x 66 cm PROVENANCE Frederick McCubbin, Melbourne Athenaeum Upper Hall, Melbourne Private Collection, Melbourne, acquired from the above in April/May 1904 (Probably) Sidney Dark, Melbourne Kozminsky Gallery, Melbourne Graham Joel, Melbourne, by 1970 Private Collection, Melbourne, by descent from the above EXHIBITED Mr. Fred McCubbin's Exhibition of Australian Paintings, Athenaeum Upper Hall, Melbourne, 22 April 1904, no. 16, £21.0.0 First City of Mordialloc Arts Festival, Mentone City Hall, 1-5 May 1965, no. 22, 'Fantasy' Spirit of Place, Benalla Art Gallery, Victoria, August 1977, no. 39, 'Fairies in the Glade' The Art of Frederick McCubbin, National Gallery of Victoria, Melbourne,18 December 1991 - 25 February 1992, and tour, no. 42, illustrated Our Country: Australian Federation Landscapes 1900-1914, Art Gallery of South Australia, Adelaide, 14 September - 18 November 2001, illustrated Masterpieces of Australian Impressionism, Bonhams & Goodman, Melbourne, 24-26 July 2009, no. 9 Looking for Fairies: The Victorian Tradition, Bendigo Art Gallery, Bendigo, 16 October - 28 November 2010, illustrated A Distinguished Private Collection of Australian Art, Sotheby's Australia (now trading as Smith & Singer), Melbourne, 25 February - 8 March 2013, no. 65, illustrated LITERATURE 'Mr. McCubbin's Exhibition of Paintings', The Age, Melbourne, 22 April 1904, p. 8 'Exhibition of Australian Art', The Argus, Melbourne, 22 April 1904, p. 7 'Mr. McCubbin's Exhibition of Paintings', The Leader, Melbourne, 23 April 1904, p. 26 'Social Circle', The Leader, Melbourne, 14 May 1904, p. 37 James MacDonald, The Art of Frederick McCubbin, Lothian Book Publishing, Melbourne, 1916, p. 96 Leigh Astbury, 'The Art of Frederick McCubbin and the Impact of the First War', The La Trobe Library Journal, Melbourne, Vol. 6, No. 24, October 1979, pp. 81 (illustrated), 82 Ann Galbally, Frederick McCubbin, Hutchinson, Melbourne, 1981, plate 24, pp. 110, 111, 112, 115 (illustrated), 148 Leigh Astbury, City Bushman: The Heidelberg School and the Rural Mythology, Oxford University Press, Melbourne, 1985, pp. 175, 195-196 Andrew Mackenzie, Frederick McCubbin 1855-1917: 'The Proff' and His Art, Mannagum Press, Melbourne, 1990, p. 124 Bridget Whitelaw, The Art of Frederick McCubbin, National Gallery of Victoria, Melbourne, 1991, pp. 76, 77 (illustrated) Ron Radford, Our Country: Australian Federation Landscapes 1900-1914, Art Gallery of South Australia, Adelaide, 2001, pp. 82, 83 (illustrated), 155 Anne Gray, McCubbin: Last Impressions 1907-17, National Gallery of Australia, Canberra, 2009, pp. 44, 45 (illustrated) Anna Clabburn, Looking for Fairies: The Victorian Tradition, Bendigo Art Gallery, Victoria, 2010, n.p. (illustrated) Geoffrey Smith and David Hansen, A Distinguished Private Collection of Australian Art, Sotheby's Australia (now trading as Smith & Singer), Melbourne, 2013, pp. 4, 10, 36 (illustrated), 37 (illustrated), 98

        Smith & Singer
      • FREDERICK McCUBBIN (1855-1917), Spring Morning, 1914
        Mar. 31, 2021

        FREDERICK McCUBBIN (1855-1917), Spring Morning, 1914

        Est: -

        FREDERICK McCUBBIN (1855-1917) Spring Morning 1914 oil on canvas 64.5 x 77.5 cm signed and dated lower left: F. McCubbin/ 1914

        Menzies
      • FREDERICK MCCUBBIN
        Feb. 13, 2021

        FREDERICK MCCUBBIN

        Est: $100 - $200

        A bundle of books about the Australian artist Frederick McCubbin. A mixed lot in good condition. Includes: Daisy Chains, Gabally, Managan and the Art of Frederick Mccubbin.

        Sydney Rare Book Auctions
      • FREDERICK McCUBBIN - (1855-1917) - LANDSCAPE SOUTH YARRA
        Dec. 01, 2020

        FREDERICK McCUBBIN - (1855-1917) - LANDSCAPE SOUTH YARRA

        Est: $28,000 - $38,000

        FREDERICK McCUBBIN (1855-1917) LANDSCAPE SOUTH YARRA Signed and dated 1911 lower right Oil on canvas board 25 x 35cm $28,000/38,000

        GFL Fine Art
      • FREDERICK McCUBBIN (1855-1917) Washing Day, Brighton 1897
        Nov. 19, 2020

        FREDERICK McCUBBIN (1855-1917) Washing Day, Brighton 1897

        Est: $35,000 - $45,000

        FREDERICK McCUBBIN (1855-1917) Washing Day, Brighton 1897 oil on board 30.5 x 21.0 cm signed and dated lower right: F McCubbin/ 1897

        Menzies
      • FREDERICK MCCUBBIN 1855-1917 View from Macedon oil on canvasboard
        Nov. 18, 2020

        FREDERICK MCCUBBIN 1855-1917 View from Macedon oil on canvasboard

        Est: $40,000 - $60,000

        FREDERICKMCCUBBIN 1855-1917 View from Macedon oil on canvasboard signed 'F McCubbin' lower right 25.5 x 35.5 cm frame: John Thallon, Melbourne (label verso) PROVENANCE Frederick McCubbin, Melbourne Private Collection, London, by descent from the above

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 (A Quiet Study) (1886) oil on canvas
        Nov. 18, 2020

        FREDERICK MCCUBBIN 1855-1917 (A Quiet Study) (1886) oil on canvas

        Est: $180,000 - $220,000

        FREDERICKMCCUBBIN 1855-1917 (A Quiet Study) (1886) oil on canvas 51 x 91.5 cm PROVENANCE Frederick McCubbin, Melbourne The Bickley Family, Melbourne, acquired from the above Private Collection, Queensland, by descent from the above

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 Golden Light 1913 oil on canvas
        Nov. 18, 2020

        FREDERICK MCCUBBIN 1855-1917 Golden Light 1913 oil on canvas

        Est: $350,000 - $450,000

        FREDERICKMCCUBBIN 1855-1917 Golden Light 1913 oil on canvas signed and dated 'F McCubbin / 1913' lower left 50.6 x 76.2 cm PROVENANCE: The Sedon Galleries, Melbourne Private Collection Australian Historical and Contemporary Paintings, Drawings and Sculpture, Christie's Australia, Sydney, 3 October 1973, lot 436, 'Across the Yarra', illustrated Joseph Brown Gallery, Melbourne (stock 3764) Sir Leon and Lady Trout, Brisbane, acquired from the above on 8 October 1973 Private Collection, Sydney Australian and International Paintings, Christie's Australia, Sydney, 17 August 1999, lot 140, 'Across the Yarra', illustrated Private Collection, New South Wales, acquired from the above Private Collection, Sydney, acquired from the above EXHIBITIONS: Australian Art Association Exhibition, Athenaeum Hall, Melbourne, 7-30 May 1913, no. 6, 50 gns Spring Exhibition 1973: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 24 October - 7 November 1973, no. 17, 'Across the Yarra', illustrated Masterworks from the Collection of Sir Leon and Lady Trout, Queensland Art Gallery, Brisbane, 21 September - 21 November 1977, no. 2, 'Across the Yarra' Gifts from the Collection of Sir Leon and Lady Trout (Augmented by a Selection of Works Kindly Lent by Lady Trout), Queensland Art Gallery, Brisbane, 27 January - 20 March 1984, no. 105, 'Across the Yarra' Aspects of the Trout Collection, Philip Bacon Galleries, Brisbane, 1989, no. 29, 'Looking Across the Yarra Towards Melbourne', illustrated Aspects of the Trout Collection, The Blaxland Gallery, Sydney, Sydney, February - March 1990, 'Looking Across the Yarra Towards Melbourne' LITERATURE: Art and Australia, Sydney, Vol. 27, No. 2, Summer 1989, p. 227 (illustrated), 'Looking Across the Yarra Towards Melbourne'

        Smith & Singer
      • FREDERICK MCCUBBIN 1855-1917 The Campfire, Mount Macedon (circa 1908-1910) oil on canvasboard 25.5 x 35 cm
        Sep. 02, 2020

        FREDERICK MCCUBBIN 1855-1917 The Campfire, Mount Macedon (circa 1908-1910) oil on canvasboard 25.5 x 35 cm

        Est: $60,000 - $80,000

        FREDERICK MCCUBBIN 1855-1917 The Campfire, Mount Macedon (circa 1908-1910) oil on canvasboard signed 'F McCubbin' lower right 25.5 x 35 cm PROVENANCE (Possibly) Lieutenant-Colonel and Mrs E.H. B. Neill, Melbourne Private Collection, Melbourne Fine Australian and European Paintings, Sotheby's Australia, Melbourne, 19 August 1996, lot 210, illustrated Private Collection, Melbourne, acquired from the above Important Australian and International Art, Deutscher and Hackett, Sydney, 28 August 2013, lot 44, illustrated Private Collection, Melbourne, acquired from the above EXHIBITED (Possibly) Collectors' Collections, Melbourne Church of England Grammar School, Melbourne, 9-17 August 1969, no. 87, 'Macedon Campfire'

        Smith & Singer
      • FREDERICK MCCUBBIN (1855-1917)The Pool, 1905
        Jul. 19, 2020

        FREDERICK MCCUBBIN (1855-1917)The Pool, 1905

        Est: $4,000 - $6,000

        FREDERICK MCCUBBIN (1855-1917) The Pool, 1905 watercolour signed and dated lower left: F McCubbin 1905  24 x 34cm PROVENANCE The Hartley Estate, Melbourne CONDITION There is no visible significant indentations or creasing to the paper. Although there is slight discolouration, the watercolour appears to have retained most of it's original colouration. The condition of this lot is sound and very good.

        Gibson's Auctions
      • FREDERICK McCUBBIN (1855-1917) Cows Crossing McCauley Creek, Looking towards Melbourne c1882
        Jul. 09, 2020

        FREDERICK McCUBBIN (1855-1917) Cows Crossing McCauley Creek, Looking towards Melbourne c1882

        Est: $40,000 - $60,000

        FREDERICK McCUBBIN (1855-1917), Cows Crossing McCauley Creek, Looking towards Melbourne c1882 oil on canvas 51.5 x 76.5 cm signed lower right: F McCubbin

        Menzies
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