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Arthur Streeton Sold at Auction Prices

Landscape painter, Flower painter, b. 1867 - d. 1943

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          • ARTHUR STREETON (1867-1943), Satyr and Shepherdess c1900
            Nov. 29, 2023

            ARTHUR STREETON (1867-1943), Satyr and Shepherdess c1900

            Est: $12,000 - $18,000

            ARTHUR STREETON (1867-1943) Satyr and Shepherdess c1900 watercolour on card 53.0 x 36.0 cm; 74.5 x 54.5 cm (framed) signed and inscribed lower left: Arthur STREETON/ LONDON.

            Menzies
          • STREETON Arthur (1867-1943), The Yarra near Heidelberg, 1891., Oil on Canvas, 31x46cm (stretcher)
            Nov. 25, 2023

            STREETON Arthur (1867-1943), The Yarra near Heidelberg, 1891., Oil on Canvas, 31x46cm (stretcher)

            Est: $150,000 - $250,000

            STREETON, Arthur (1867-1943) The Yarra near Heidelberg, 1891. Signed and dated 'Streeton 91' lower right. Oil on Canvas 31x46cm (stretcher) 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: This recently rediscovered work, painted just two years after the seminal 9x5 exhibition of 1889, depicts a well-dressed family arriving for a day's fishing on the Yarra, with the father holding a fishing rod, his wife and child alongside him at the water's edge. It is closely related to 'The Bathers,' of the same year (illus.) currently in the collection of the Queensland Art Gallery. 1891 proved to be an important year in Streeton's career. Living at Eaglemont periodically, he had the use of his great friend Tom Roberts' studio in Grosvenor Chambers, Collins St, Melbourne whilst Roberts was away painting in rural N.S.W. At that time, Victoria, and Melbourne in particular, was entering a period of depression after a decade of growth in the 1880s; and Streeton was set to depart for Sydney in September of that year, where he was to paint the major work 'Fire's On,' Lapstone Tunnel (in the collection of the Art Gallery of New South Wales). This work is not recorded in the existing literature for the artist, but might have formed part of the 'Art Union of Pictures, by Arthur Streeton,' raffle, with pictures on view at Buxtons Art Gallery in Swanston Street, which presented 30 prizes (invitation illus. - image courtesy Douglas Stewart Fine Books). The Argus, May 28th 1891 states: 'A private view of a number of pictures and studies, which are about to be disposed of by art union, is to be held this afternoon at the studio of Mr Arthur Streeton... Mr Streeton's landscape studies, made for the most part in the open air, in the neighbourhood of Heidelberg, reproduce general effects of atmosphere, light, and colour, and the broad aspects of the scenery, rather than specific details, and suggest more than they describe". Also, Table Talk, Friday 15th May 1891: "The First Picknicker is the title given to a spirited sketch of Heidelberg scenery, of which this artist has made a number of small studies all worthy of mention as being harmonious in colouring, the artist, however, not troubling much about composition, but painting Nature exactly as he finds her... the most important picture which has so far occupied Mr Streeton's attention is The Bathers, an autumn landscape, which he commenced recently at Heidelberg... It is Mr Streeton's intention to dispose of his works in a few weeks by an art union for which he is already making preparations. Mr Streeton has fixed the price of tickets at five shillings each. Spring, his large pastoral work, will be the first prize". Related works: Tom Roberts, 'A Quiet Stream (Heidelberg)' c.1888-90, oil on canvas, 25.5x46cm (illus.). Arthur Streeton, 'The Bathers,' 1891, oil on canvas, 31x62.5cm (illus.) n.b. this work signed in near identical manner. Fred Kruger (1831-1888), The Yarra - Heidelberg,' albumen silver photograph, c.1870s/80s (illus.); and Fred Kruger (1831-1888), 'Scene on the Yarra Yarra flats,' albumen silver photograph, c.1870/80s (illus.)

            Davidson Auctions
          • ARTHUR STREETON, THE ROYAL BARGE AT ETON, 1903
            Nov. 22, 2023

            ARTHUR STREETON, THE ROYAL BARGE AT ETON, 1903

            Est: $15,000 - $20,000

            ARTHUR STREETON (1867 - 1943) THE ROYAL BARGE AT ETON, 1903 watercolour and pencil on paper 36.5 x 53.0 cm signed and dated lower left: Arthur Streeton / 1903 bears inscription on gallery label verso: THE ROYAL BARGE AT ETON / SIR ARTHUR STREETON / 1903. PROVENANCE Sir Baldwin Spencer, Melbourne, by 1907 P & D Colnaghi & Co Ltd, London, by 1940 (label attached verso) Private collection Joseph Brown Gallery, Melbourne Private collection Deutscher and Hackett, Melbourne, 25 November 2009, lot 33 (as 'The Kings Barge at Eton') Private collection, Melbourne EXHIBITED An Exhibition of Pictures by Arthur Streeton Prior to his return to Europe, Hibernian Hall, 20 – 27 April 1907, cat. 52 Sir W. Baldwin Spencer’s Collection, National Art Gallery of New South Wales, Sydney, 1 December 1916, cat. 29 (as ‘Royal Barge at Eton’) Loan Exhibition of Australian paintings, National Gallery of Victoria, Melbourne, 9 July - 29 August 1925, cat. 43 (label attached verso, as 'The King's Barge at Eton') RELATED WORK The King’s Barge, Eton, oil on canvas, 76.0 x 51.0 cm, private collection, Victoria The King's Barge at Eton, watercolour, 36.7 x 52.8 cm, The Howard Hinton Collection, in the collection of the New England Regional Art Museum, New South Wales The King’s Barge, Eton, 1905, watercolour on paper, 21.5 x 31.5 cm, private collection

            Deutscher and Hackett
          • ARTHUR STREETON, STILL LIFE WITH ROSES, C.1930S
            Nov. 22, 2023

            ARTHUR STREETON, STILL LIFE WITH ROSES, C.1930S

            Est: $45,000 - $65,000

            ARTHUR STREETON (1867 - 1943) STILL LIFE WITH ROSES, c.1930s oil on canvas 75.0 x 62.5 cm signed lower right: A. STREETON PROVENANCE Private collection, Melbourne Christies, Sydney, 23 August 2004, lot 11 Private collection, New South Wales 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.   Arthur Streeton’s interest in painting flower pieces increased considerably after his return to Melbourne in 1920. Purchasing the property ‘Longacres’ at Olinda in the Dandenong Ranges and setting up a city home in Toorak, he established gardens at both. They inspired the many flower paintings that now hold a prominent part in his oeuvre. His favourite bloom was the rose, and so enamoured was he that in December 1932 he held an entire exhibition devoted to it. Shown at Melbourne’s Fine Art Society’s Gallery, it included Roses, Silver and Silk; Roses – Deep Red and Green; Roses Pale in Silver Bowl; and Roses – Pale Yellow. Two years previously both the National Gallery of Victoria and the Art Gallery of New South Wales had acquired paintings simply titled ‘Roses’ – the former through the Felton Bequest and the Sydney gallery from Streeton’s solo exhibition at the Macquarie Galleries. They often contained a touch of drama, as in Roses, c.1929 (Art Gallery of New South Wales). Spot-lit against a dark background, the impact of its realism is powerful, as admired by a viewer at the time:   ‘… I noticed a bunch of crimson roses on the wall, so real, that at the same instant I seemed almost to be overpowered by the scent. Having practically to shake myself free of this fancy, I found I was gazing at a picture of what was just a bunch of red roses in a simple glass vase, but so real, so perfect, that one of the roses looked as if it was about to wilt.’1       These qualities were readily noted by the newspaper critics. Of Streeton’s exhibition at Melbourne’s Athenaeum Gallery in November 1920, the Age critic wrote: ‘a painting of a spray of plum blossom in a glass bowl… reveals the painter’s almost uncanny cleverness. To paint glass without the help of a dominant color behind it is a problem that most artists would leave severely alone. With a few sure strokes of the brush Mr. Streeton has achieved the translucency, the actual brittleness of the glass.’2   In Still Life with Roses, c.1930s, the painterly subtleties of the setting compliment the seductive reds and textured petals of the flowers, formed and highlighted by the masterly play of light and shade. Streeton's technique gives added immediacy, increasing the affinity between artist and viewer as they share in a moment of beauty, transcending the transience of nature.   As fellow artist Harold Herbert, reviewing Streeton’s solo Melbourne exhibition of 1934, which included five paintings of roses, remarked: ‘In this show, there are many beautiful flower pieces, all painted with the wizardry that is Streeton’s own… his flower pieces [are] full of fragrant freshness and convincing realism. Not only are the flowers beautifully painted and arranged, but the glazed vase or crystal bowl that contains them is an object to be admired for its masterly treatment in paint. Backgrounds of silks and velvets are other features of these studies to excite admiration.’3 Such words of praise apply equally to the present Still Life with Roses.   1. W.G.E., ‘The Streeton Collection’, Letters to the Editor, Sydney Morning Herald, 10 December 1931, p. 4 2. ‘Mr. Arthur Streeton Among The Grampians’, The Age, Melbourne, 2 November 1920, p. 8 3. Herbert, H., ‘The Art of Arthur Streeton’, The Argus, Melbourne, 5 June 1934, p. 5   DAVID THOMAS

            Deutscher and Hackett
          • § ARTHUR STREETON 1867-1943 The Cedars, Combe Bank (1913) oil on canvas 63 x 74.5 cm
            Nov. 21, 2023

            § ARTHUR STREETON 1867-1943 The Cedars, Combe Bank (1913) oil on canvas 63 x 74.5 cm

            Est: $80,000 - $100,000

            § ARTHUR STREETON 1867-1943 The Cedars, Combe Bank (1913) oil on canvas signed 'A STREETON' lower left 63 x 74.5 cm PROVENANCE Arthur Streeton, London Sir Robert Mond, United Kingdom, acquired from the above Private Collection Lister Gallery, Perth Corporate Collection, Perth Important Australian Art, Smith & Singer (trading as Sotheby's Australia), Melbourne, 20 April 2010, lot 5, illustrated Private Collection, London, acquired from the above Important Australian Art, Smith & Singer (trading as Sotheby's Australia), Sydney, 9 April 2019, lot 53, illustrated Private Collection, Sydney, acquired from the above

            Smith & Singer
          • ARTHUR STREETON (1867-1943), Amiens 1918
            Oct. 29, 2023

            ARTHUR STREETON (1867-1943), Amiens 1918

            Est: $6,000 - $9,000

            ARTHUR STREETON (1867-1943) Amiens 1918 watercolour on paper signed, dated and titled lower right and left: A STREETON 1918 / AMIENS 39.5 x 49.5cm PROVENANCE Sotheby's Australia, Melbourne, 28 November 2005, Lot 114 Private Collection, Brisbane Leonard Joel, Fine Art, Melbourne, 2 June 2020, Lot 25 Private Collection, Melbourne LITERATURE The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 586

            Gibson's Auctions
          • ARTHUR STREETON (1867-1943) Procession Josselin 1899 pencil and wash on paper 24.5 x 33.5cm
            Oct. 24, 2023

            ARTHUR STREETON (1867-1943) Procession Josselin 1899 pencil and wash on paper 24.5 x 33.5cm

            Est: $4,000 - $6,000

            ARTHUR STREETON (1867-1943) Procession Josselin 1899 pencil and wash on paper signed lower left: astreeton titled and dated lower right: Procession '99/Josselin 24.5 x 33.5cm PROVENANCE: Private collection, Melbourne

            Leonard Joel
          • STREETON Arthur (1867-1943), Interior with Palm, Pencil, 24.5x34cm
            Oct. 08, 2023

            STREETON Arthur (1867-1943), Interior with Palm, Pencil, 24.5x34cm

            Est: $2,000 - $4,000

            STREETON, Arthur (1867-1943) Interior with Palm Signed lower right; also certified verso. Pencil 24.5x34cm

            Davidson Auctions
          • ARTHUR STREETON 1867-1943 Evening Game 1889 oil on cardboard 13.3 x 23.3 cm
            Aug. 23, 2023

            ARTHUR STREETON 1867-1943 Evening Game 1889 oil on cardboard 13.3 x 23.3 cm

            Est: $400,000 - $600,000

            ARTHUR STREETON 1867-1943 Evening Game 1889 oil on cardboard inscribed 'EvEning Game' lower left; signed and dated 'StreEten 89' lower right 13.3 x 23.3 cm PROVENANCE Arthur Streeton, Melbourne Professor Henry Laurie and Mrs Frances Laurie, Melbourne, acquired from the above in August 1889 A Fine Collection of Australian, English and European Paintings, Decoration Co., Melbourne, 18 November 1953, lot 107, 'Looking Towards Melbourne from the Yarra, 1881' Private Collection, Melbourne Private Collection, Sydney, by descent from the above EXHIBITED The 9 by 5 Impression Exhibition, Buxton's Art Gallery, Melbourne, 17 August 1889, no. 145, 2 gns Moonrise, Ballarat Fine Art Gallery, Ballarat, 30 November 1973 - 21 January 1974, no. 41 (label verso) Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 8 December 1995 - 12 February 1996; Art Gallery of South Australia, Adelaide, 1 March - 14 April 1996; Art Gallery of Western Australia, Perth, 2 May - 16 June 1996; Queensland Art Gallery, Brisbane, 9 July - 25 August 1996; Art Gallery of New South Wales, Sydney, 11 October - 24 November 1996, no. 17, illustrated (label verso) Australian Impressionism, National Gallery of Victoria, Melbourne, 31 March - 8 July 2007, no. 9.52, illustrated Streeton, Art Gallery of New South Wales, Sydney, 7 November 2020 - 14 February 2021, illustrated She-Oak and Sunlight: Australian Impressionism, The Ian Potter Centre: NGV Australia at Federation Square, 2 April - 22 August 2021 LITERATURE 'Art and Artists', Table Talk, Melbourne, 23 August 1889, p. 4 Ann Galbally, Arthur Streeton, Lansdowne Press, Melbourne, 1969, cat. no. 31, p. 92 Geoffrey Smith, Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 1995, pp. 48, 49 (illustrated) Terence Lane, Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, pp. 178 (illustrated), 334, 351 Wayne Tunnicliffe (ed.), Streeton, Art Gallery of New South Wales, Sydney, 2021, pp. 59 (illustrated), 368 Anne Gray and Angela Hesson (eds), She-Oak and Sunlight: Australian Impressionism, National Gallery of Victoria in association with Thames & Hudson, Melbourne, 2021, p. 284

            Smith & Singer
          • ARTHUR STREETON, ROUEN, FROM BON SECOURS, 1912
            Aug. 16, 2023

            ARTHUR STREETON, ROUEN, FROM BON SECOURS, 1912

            Est: $120,000 - $180,000

            ARTHUR STREETON (1867 - 1943) ROUEN, FROM BON SECOURS, 1912 oil on canvas 51.0 x 77.0 cm signed lower right: A. Streeton bears inscription on plaque attached to frame: Sir Arthur Streeton / “ROUEN, FROM BON SECOURS” / (c.1912) PROVENANCE Sir Edward Hayward, Adelaide, by 1968 Private collection, Melbourne Sotheby's, Melbourne, 19 August 1996, lot 147 Henry Krongold, Melbourne The Estate of Paul Krongold, Melbourne EXHIBITED Arthur Streeton Exhibition, John Martin & Co. Ltd, Adelaide Festival of Arts, Adelaide, 6 - 23 March 1968, cat. 79 (label attached verso) LITERATURE Streeton, A.,  The Arthur Streeton Catalogue, Melbourne, 1935, cat. 482 or 483 RELATED WORK Rouen, 1912, oil, illus. in Ure Smith, S., The Art of Arthur Streeton, Special Number of Art in Australia, Angus & Robertson, Melbourne, 1919, pl. XXXIX Rouen, 1912, watercolour on paper, 23.5 x 34.5 cm, private collection ESSAY Arthur Streeton left Australia in January 1897, bound for London and eager to see the works of the great masters of European art, as well as those of his contemporary international peers. Writing to his friend Tom Roberts the following year, he declared, ‘[John Singer] Sargent is a perfect wonder … & 2 or 3 … are quite as fine as the great Rembrandt.’1 In a postscript to the letter, he wrote: I feel convinced that my work hereafter will contain a larger idea & quality than before – After seeing Constable Turner Titian Watts & all the masters – I wish you & the Prof [Frederick McCubbin] could have a trip here – I think it’s necessary for ones work – I’m evolving & should I return I’d never paint Australia in exactly the same way – by Gad I’ll do one or two great things if I get out there again – I know more now - & would touch it more poetically.2 Apart from two extended visits to Australia, Streeton remained in England for more than twenty years, returning to the country of his birth in 1920 an established and successful artist. With his home base in London, Streeton had relatively easy access to Europe and his first visit to France, a week in Paris, took place in the summer of 1901. ‘I was over there for a week a little time back. The 1 st impression never to be forgotten – & best of all the Louvre – the Giorgione, Titians, Poussins, Claudes, Tintoretto’s – ‘My Golly – how they sank down into me – how inspiring’.3 He visited France again, as well as Belgium, in May the following year, travelling with fellow artist Emanuel Phillips Fox. This painting of Rouen, in Normandy in the north of France, emerged from more extensive travels through France in 1912 in the company of the English artist, collector and philanthropist, Sigismund Goetze. Writing to his friend Walter Pring, Streeton described the itinerary: ‘We’ve had pretty good weather for Amiens, Rouen (marvellous), Caen … Bayeux, Rennes, Vannes Mt St Michel, Qumper, & a dozen other places seen by motor, train etc – & still we go on, … We look forward to many places yet & later in Tours, & Chartres with its indescribable glass’.4 He also noted, ‘I met your friend Homo near where we stayed at Rouen, Hotel de la Poste, he was most kind and charming & helped direct me to the view of Rouen’.5 It is tempting to speculate that this perspective of Rouen, seen from the Gothic Revival Basilica Notre-Dame de Bon Secours outside the city, is ‘the view’ that Streeton refers to in his letter. Looking down a gently sloping, grassy hill, past rows of small houses towards the centre of Rouen, the painting adopts a broad view of its subject, taking in the pale blue river that meanders through the landscape, flanked by towering industrial chimney stacks and other buildings, all brought together under a vast open sky. Streeton was a skilled painter and his love of his medium and facility with the brush is on full display in this work. Broad, lively brushstrokes impart a sense of dynamism and movement within the depiction of the overcast sky, while quick daubs of paint describe yachts and other vessels on the river, as well as the smoke that emanates from the chimney stacks. While the subject matter and colour palette are very different from Streeton’s iconic ‘blue and gold’ depictions of the Australian landscape, the composition shares many of the characteristics of well-known paintings such as ‘Still glides the stream, and shall for ever glide’, 1890 (Art Gallery of New South Wales) and Australia Felix, 1907 (Art Gallery of South Australia). This predilection for a panoramic view is perhaps the reason that he chose not to focus on a more obvious landmark, the Rouen Cathedral, that was made famous by Claude Monet in his early 1890s series of more than thirty paintings of its façade which captured the changing colour and light at different times of day and year. Streeton’s best-known paintings of France were made some years later when he was appointed an Australian official war artist and attached to the 2 nd Division of the Australian Imperial Force, undertaking two tours in 1918. Producing many more works than his commission required – watercolours and drawings made in the field, and paintings produced in the studio – Streeton was inspired by both his subject and his fellow-soldiers: ‘Australians, I thought I understood … but its necessary to see & know them here to properly appreciate the manhood of Australia – Absolutely – The fights against fire & flood & thirst in the Bush, all tells in the field here – & brings out the finest in them … I’m glad I’ve not missed it.’6 1.      Streeton to Tom Roberts, 28 June 1898 quoted in Galbally, A. and Gray, A. (eds.), Letters from Smike: The Letters of Arthur Streeton 1890-1943, Oxford University Press, Melbourne, 1989, p. 77. Streeton’s spelling and punctuation was idiosyncratic and is quoted here exactly as it has been transcribed and published. 2.      ibid., p. 78 3.      Streeton to Tom Roberts, 1 October 1901, ibid., p. 88 4.      Streeton to Walter Pring, 15 September 1912, ibid., p. 123 5.      ibid. 6.      Streeton to Tom Roberts, 6 July 1918, ibid., p. 148. For more information about Streeton’s work as an official war artist, see Yip, A., ‘Painting the Somme’ in Tunnicliffe, W., Streeton, Art Gallery of New South Wales, Sydney, 2020, pp. 234-242. KIRSTY GRANT

            Deutscher and Hackett
          • ARTHUR STREETON 1867-1943
            Jul. 25, 2023

            ARTHUR STREETON 1867-1943

            Est: $5,500 - $8,500

            "View of Windsor Castle" Watercolour on paper, signed lower left, A.S. Provenance: Christopher Day, 1992. 16.5 x 24.5cm

            McKenzies Auctioneers
          • ARTHUR STREETON (1867-1943), Concert by Miss Hullah 1916
            Jun. 28, 2023

            ARTHUR STREETON (1867-1943), Concert by Miss Hullah 1916

            Est: $5,000 - $7,000

            ARTHUR STREETON (1867-1943) Concert by Miss Hullah 1916 watercolour and pencil on paper 26.5 x 32.5 cm signed lower right: Corporal Streeton 2

            Menzies
          • Arthur Ernest Streeton (Australia, 1867-1943)
            Jun. 26, 2023

            Arthur Ernest Streeton (Australia, 1867-1943)

            Est: $2,000 - $3,000

            Trafalgar Square pencil on paper

            Shapiro Auctioneers
          • ARTHUR STREETON 1867-1943 Cauliflower 1925 oil on canvas
            May. 02, 2023

            ARTHUR STREETON 1867-1943 Cauliflower 1925 oil on canvas

            Est: $45,000 - $65,000

            ARTHUR STREETON 1867-1943 Cauliflower 1925 oil on canvas signed and dated 'ARTHUR STREETON 1925' lower left 51 x 76 cm frame: original, John Thallon, Melbourne (label verso) PROVENANCE Arthur Streeton, Melbourne Oliver Streeton, Melbourne, acquired from the above National Art Gallery of South Australia, Adelaide, acquired in 1945 (deaccessioned) Private Collection, Sydney Private Collection, Sydney Private Collection, United Kingdom, acquired from the above EXHIBITED Exhibition of Paintings by Arthur Streeton, The Fine Art Society's Gallery, Melbourne, 29 October - 11 November 1925, no. 3, 'Vegetables', (150 gns) Exhibition of Oil Paintings by Arthur Streeton, The Macquarie Galleries, Sydney, 10-26 March 1927, no. 5, 100 gns Loan Exhibition of the Works of Arthur Streeton, National Art Gallery of New South Wales, Sydney, 20 November 1931 - 20 January 1932, no. 79 A Retrospective Exhibition of Paintings by Arthur Streeton, The Athenaeum Gallery, Melbourne, 15-26 August 1933, no. 26, 80 gns Exhibition of Pictures by Sir Arthur Streeton, David Jones' Art Gallery, Sydney, 8 April 1937, no. 19, 100 gns Arthur Streeton Memorial Exhibition, National Gallery of Victoria, Melbourne, 5 September - 7 October 1944, no. 89, illustrated Arthur Streeton Memorial Exhibition, National Gallery of South Australia, Adelaide, 9 November - 10 December 1944, no. 23 Arthur Streeton Memorial Exhibition, National Art Gallery of New South Wales, Sydney, 31 March - 20 May 1945, no. 43, illustrated Sir Arthur Streeton Exhibition, Adelaide Festival of Arts, John Martin & Co. Limited, Adelaide, 6-23 March 1968, no. 58 (label verso) LITERATURE 'Mr. A. Streeton's Paintings', The Age, Melbourne, 29 October 1925, p. 15 'Mr. Streeton's Paintings', The Argus, Melbourne, 29 October 1925, p. 9 'Mr. Streeton's Paintings', The Australasian, Melbourne, 31 October 1925, p. 45 George Galway, 'Streeton's Art. A Master Craftsman. Charm of Harbour', The Evening News, Sydney, 10 March 1927, p. 10 'Mr. Streeton's Exhibition', The Sydney Morning Herald, Sydney, 10 March 1927, p. 6 'Mr. A. Streeton's Oil Paintings', The Australasian, Melbourne, 19 March 1927, p. 41 Arthur Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 839, illustrated OTHER NOTES PROPERTY LINE: PROPERTY FORMERLY FROM THE COLLECTION OF THE ART GALLERY OF SOUTH AUSTRALIA, ADELAIDE

            Smith & Singer
          • ARTHUR STREETON 1867-1943 San Gregorio and the Rio della Salute (1908) oil on canvas
            May. 02, 2023

            ARTHUR STREETON 1867-1943 San Gregorio and the Rio della Salute (1908) oil on canvas

            Est: $140,000 - $180,000

            ARTHUR STREETON 1867-1943 San Gregorio and the Rio della Salute (1908) oil on canvas signed 'A STREETON' lower left 54 x 64 cm PROVENANCE Arthur Streeton, London Private Collection Private Collection, Melbourne Fine Australian and European Paintings, Sotheby's Australia, Melbourne, 24 November 1997, lot 104, illustrated Private Collection, Sydney, acquired from the above Private Collection, Sydney EXHIBITED Australian Paintings: Colonial, Impressionist, Early Modern, Deutscher Fine Art, Melbourne, 8-25 March 1983, no. 32, '(Venice)', illustrated

            Smith & Singer
          • ARTHUR STREETON 1867-1943 (Harvest Scene) (1904) oil on wood
            May. 02, 2023

            ARTHUR STREETON 1867-1943 (Harvest Scene) (1904) oil on wood

            Est: $35,000 - $45,000

            ARTHUR STREETON 1867-1943 (Harvest Scene) (1904) oil on wood signed 'A STREETON' lower left 18.8 x 24 cm PROVENANCE Arthur Streeton, London Private Collection Private Collection, Sydney

            Smith & Singer
          • Arthur Streeton
            Apr. 24, 2023

            Arthur Streeton

            Est: $50 - $80

            Arthur Streeton Memorial Exhibition. National Gallery of Victoria 5th September to 7th October, 1944. Original thin boards with 2 colour plates. unpaginated but 16 pages. Very good copy

            Sydney Rare Book Auctions
          • Arthur Streeton (1867-1943) Cathedral, Bruges, c.1919
            Apr. 04, 2023

            Arthur Streeton (1867-1943) Cathedral, Bruges, c.1919

            Est: $12,000 - $18,000

            Arthur Streeton (1867-1943) Cathedral, Bruges, c.1919 signed lower right: 'A STREETON' watercolour and pencil on paper 51.0 x 34.0cm (20 1/16 x 13 3/8in).

            Bonhams
          • Arthur Streeton (Australian 1867-1943) “Duke of Yo…
            Apr. 02, 2023

            Arthur Streeton (Australian 1867-1943) “Duke of Yo…

            Est: $1,000 - $1,500

            Arthur Streeton (Australian 1867-1943) “Duke of York’s Headquarters, London” pencil on paper, circa 1900, 15.4cm x 33.4cm. Label at centre, collection Streeton family. Provenance label verso: this drawing comes from Streeton’s London sketchbook which includes Trafalgar Square and Westminster Abbey, purchased from Chris Deutscher who bought it from the Streeton family. Masterpiece Gallery Hobart. Amanda Addams Auctions

            Amanda Addams Auctions
          • ARTHUR STREETON (1867-1943) Study for the Royal Review, Spithead 1911 pencil and wash
            Feb. 21, 2023

            ARTHUR STREETON (1867-1943) Study for the Royal Review, Spithead 1911 pencil and wash

            Est: $3,000 - $4,000

            ARTHUR STREETON (1867-1943) Study for the Royal Review, Spithead 1911 pencil and wash initialled lower right: A.S. 29.5 x 40.5cm PROVENANCE: Leonard Joel, Melbourne, Fine Art Auction, 16 September 2013, lot 125 Private collection, Sydney

            Leonard Joel
          • Attrib. STREETON Arthur (1867-1943), 'Venice', W/Clr & Ink, 17x21cm
            Dec. 04, 2022

            Attrib. STREETON Arthur (1867-1943), 'Venice', W/Clr & Ink, 17x21cm

            Est: $500 - $800

            Attrib. STREETON, Arthur (1867-1943) 'Venice' Initialled 'AS' lower left. W/Clr & Ink 17x21cm

            Davidson Auctions
          • STREETON Arthur (1867-1943), Cairo, 1898., W/Clr, 35x16cm
            Dec. 04, 2022

            STREETON Arthur (1867-1943), Cairo, 1898., W/Clr, 35x16cm

            Est: $10,000 - $15,000

            STREETON, Arthur (1867-1943) Cairo, 1898. Signed lower right. W/Clr 35x16cm PROVENANCE: The artist; gift to Ada Walker, Victoria (inscriptions verso); Pearl Fagan (née Reed), Victoria; Lysbeth St John Romaine Knight (née Fagan) NSW; private collection, NSW.

            Davidson Auctions
          • Arthur Ernest Streeton (1867 - 1943) Australia
            Nov. 29, 2022

            Arthur Ernest Streeton (1867 - 1943) Australia

            Est: $4,500 - $6,500

            Arthur Ernest Streeton (1867 - 1943) Australia , watercolour on paper , Signed , measures 9" x 7.5" , w/frame 15" x 13"

            Cutler Bay Auctions
          • ARTHUR STREETON (1867-1943) Bamburgh Castle, Northumberland c.1908 pencil on paper
            Nov. 28, 2022

            ARTHUR STREETON (1867-1943) Bamburgh Castle, Northumberland c.1908 pencil on paper

            Est: $2,000 - $4,000

            ARTHUR STREETON (1867-1943) Bamburgh Castle, Northumberland c.1908 pencil on paper initialled lower right: AS 24.5 x 34.5cm PROVENANCE: The Estate of Frank Hoffmann, Sydney OTHER NOTES: RELATED WORKS: Bamburgh Castle, oil on canvas on board, 32.5 x 24cm. "Streeton, over the years, visited and painted ancient Chepstow, Corfe, Bamburgh, Carresbrook and Dunstanburgh Castles and the hallowed Melrose, Tintem and Dryburgh Abbeys, devotedly recalling in his paintings Turner's famous images and poetry by Keats and others." - Eagle, M, The Oil Paintings of Arthur Streeton, The National Gallery of Australia, Canberra, 1994, p. 142.

            Leonard Joel
          • ARTHUR STREETON 1867-1943 Evening, Mosman (1914) oil on wood panel
            Nov. 16, 2022

            ARTHUR STREETON 1867-1943 Evening, Mosman (1914) oil on wood panel

            Est: $120,000 - $180,000

            ARTHUR STREETON 1867-1943 Evening, Mosman (1914) oil on wood panel signed 'A. S.' lower left 17.5 x 68.5 cm PROVENANCE Arthur Streeton, Melbourne Oliver Streeton, Melbourne, by descent from the above Modern and Traditional Australian Paintings, Leonard Joel, Melbourne, 23 September 1966, lot 26, 'Cremorne Ferry, Evening' Dr John Damian Tange, Melbourne, acquired from the above, until 2003 Private Collection, Melbourne, by descent from the above Fine Art, Leonard Joel, Melbourne, 21 March 2017, lot 83, 'Night Scene', illustrated Private Collection, Sydney, acquired from the above EXHIBITED Arthur Streeton, Fine Art Society Galleries, Melbourne, 28 September - 5 October 1914, no. 12, 'Evening, Mosman', no. 12, 20 gns Moonrise, Ballarat Fine Art Gallery, Ballarat, 30 November 1973 - 21 January 1974, no. 42, 'Night Scene (1890)', illustrated Sydney Harbour 1794-1979, S. H. Ervin Museum and Art Gallery, Sydney, 3-26 August 1979, no. 32, 'Night Scene 1890' LITERATURE 'Sydney Paintings', The Argus, Melbourne, 29 September 1914, p. 5 Punch, Melbourne, 15 October 1914, p. 35 Ann Galbally, Arthur Streeton, Lansdowne Press, Melbourne, 1969, cat. no. 41, 'Night Scene c. 1890', (illustrated) Ann Galbally, Arthur Streeton (rev. ed.), Lansdowne Press, Melbourne, 1971, p. 87, 'Night Scene c. 1890' Ron Radford, Moonrise, Ballarat Fine Art Gallery, Ballarat, 1973, n.p. (illustrated), 'Night Scene (1890)' Ann Galbally, Arthur Streeton (rev. ed.), Lansdowne Editions, Melbourne, 1979, pp. 25, 92, 'Night Scene c. 1890'

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Sydney Harbour, Coronation Day 1911 watercolour on paper
            Nov. 16, 2022

            ARTHUR STREETON 1867-1943 Sydney Harbour, Coronation Day 1911 watercolour on paper

            Est: $55,000 - $75,000

            ARTHUR STREETON 1867-1943 Sydney Harbour, Coronation Day 1911 watercolour on paper dated and inscribed 'SYDNEY HARBOUR / CORONATION. DAY. 1911' lower left; signed 'A. STREETON' lower right 18 x 25.5 cm PROVENANCE Arthur Streeton, London His Royal Highness Prince Henry, Duke of Gloucester KG, KT, KP, GCB, GCMG, GCVO, GCStJ, PC, ADC Private Collection, England, by descent from the above Bellmans, West Sussex, 1 August 2020, lot 806, illustrated Private Collection, Melbourne, acquired from the above

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Romance in Blue and Gold (1932) oil on canvas
            Nov. 16, 2022

            ARTHUR STREETON 1867-1943 Romance in Blue and Gold (1932) oil on canvas

            Est: $300,000 - $500,000

            ARTHUR STREETON 1867-1943 Romance in Blue and Gold (1932) oil on canvas signed and dated 'ARTHUR STREETON -' lower left 51.5 x 76.5 cm frame: original, John Thallon, Melbourne (label verso) PROVENANCE Arthur Streeton, Melbourne The Athenaeum Gallery, Melbourne Mr H.G. Hawken, Melbourne, acquired from the above in 1934 Private Collection, Canberra Savill Galleries, Sydney, acquired from the above in 1984 Australian and European Pictures, Christie's Australia, Melbourne, 20 April 1993, lot 92, illustrated Private Collection, Perth, acquired from the above Lister Gallery, Perth Private Collection, Perth, acquired from the above in 2004 EXHIBITED Exhibition of Paintings by Arthur Streeton, Fine Art Society Galleries, Melbourne, 31 March - 14 April 1932, no. 15, 150 gns An Exhibition of Arthur Streeton's Paintings, The Athenaeum Gallery, Melbourne, 4-16 June 1934, no. 27, 'Coastal Romance', 150 gns Arthur Streeton and the Australian Coast, Mornington Peninsula Regional Gallery, Mornington, 11 December 2004 - 6 March 2005, no. 55 Land of the Golden Fleece - Arthur Streeton in the Western District, Geelong Gallery, Geelong, 26 February - 13 June 2016, no. 21 LITERATURE Norman Lilley, 'Mr. Streeton's Mastery. Bush, Sea, and Flowers. Work of Charm Exhibited.', The Argus, Melbourne, 31 March 1932, p. 8 Arthur Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 1040, 'Romance - Blue and Gold, 1930-31' Art and Australia, The Fine Arts Press, Sydney, Vol. 22, No. 1, Spring 1984, p. 15 (illustrated) Art and Australia, The Fine Arts Press, Sydney, Vol. 23, No. 2, Summer 1985, p. 154 (illustrated) Geoffrey Smith and Oliver Streeton, Arthur Streeton and the Australian Coast, Mornington Peninsula Regional Gallery, Mornington, 2004, pp. 32, 39 Geoffrey Edwards, Geoffrey Smith and Lisa Sullivan, Land of the Golden Fleece - Arthur Streeton in the Western District, Geelong Gallery, Geelong, 2016, pp. 21, 55

            Smith & Singer
          • ARTHUR STREETON
            Sep. 16, 2022

            ARTHUR STREETON

            Est: $100 - $150

            Two books on Arthur Streeton. 1) Arthur Streeton: 1867-1943 by Geoffrey Smith. Melbourne: National Gallery of Victoria. 1996. Paperback., A good copy. 2) Arthur Streeton by Ann Gabally. Lansdowne Australian Art Library. 1979. Hardcover in dustwrapper a good copy. Previous owners name on the front endpaper.

            Sydney Rare Book Auctions
          • ARTHUR STREETON, NAPLES, C.1898
            Sep. 14, 2022

            ARTHUR STREETON, NAPLES, C.1898

            Est: $8,000 - $12,000

            ARTHUR STREETON (1867 - 1943) NAPLES, c.1898 watercolour on paper 20.0 x 15.5 cm (sheet) signed lower left: A Streeton bears inscription on gallery label verso: Sir Arthur Streeton / "Naples" bears inscription on label verso: Naples – watercolour 1898 / No. 4 / Painted during a trip to England. This was the "study" / for the larger water colour "Bay of Naples" numbered / 206 in the official Streeton Catalogue. bears inscription on label verso: "NAPLES" A. STREETON / MR. T. MANTON. / RCD AT GALLERY 3–4–73 PROVENANCE The Sedon Galleries, Melbourne (label attached verso) Jack Manton, Queensland Thence by descent Jennifer Manton, Sydney Estate of the above, Sydney RELATED WORK Bay of Naples, 1898, watercolour on paper, 34.5 x 22.5 cm, private collection, formerly in the collection of Mr Shakespeare, Sydney, cat. 255 in the Arthur Streeton Catalogue, 1935 

            Deutscher and Hackett
          • ARTHUR STREETON, BORONIA PEAK AND STAWELL, 1920
            Sep. 14, 2022

            ARTHUR STREETON, BORONIA PEAK AND STAWELL, 1920

            Est: $200,000 - $300,000

            ARTHUR STREETON (1867 - 1943) BORONIA PEAK AND STAWELL, 1920 oil on canvas 51.5 x 76.5 cm signed lower right: A. STREETON bears inscription on stretcher bar verso: Stawell from Boronia Peak / The Grampians / Victoria / 7 PROVENANCE W. Schmidt, by 1935 Private collection, Melbourne, acquired via private auction, c.1936 Thence by descent Private collection, Melbourne EXHIBITED Mr. Streeton’s Exhibition of Paintings of the Grampian Mountains, Athenaeum Hall, Melbourne, 1 – 6 November 1920, cat. 7 (as ‘Boronia Peak and Stawell’) LITERATURE Colquhoun, A., ‘Arthur Streeton’s Art Pictures Exhibited’, The Herald, Melbourne, 1 November 1920, p. 8 (as ‘Boronia Peaks’) Streeton, A., The Arthur Streeton Catalogue, Melbourne, 1935, cat. 743 (dated 1921, as ‘Boronia Peak’) ESSAY Arthur Streeton and his family sailed from London in late 1919, arriving in Melbourne in February the following year. Renting a house in Murphy Street, South Yarra and a city studio in Bourke Street, he presented a solo exhibition at the Victorian Artists’ Society Galleries in March, before spending several months in Sydney. A second Melbourne exhibition in November featured new paintings – including Boronia Peak and Stawell, 1920 – which Streeton had made on recent painting trips to the Grampians and the Dandenong Ranges. Archibald Colquhoun announced it in the Herald, writing: ‘At the Athenaeum Hall, Collins street today, Mr Arthur Streeton opened with a private view of an exhibition of about 20 paintings, chiefly depicting the sunlit peaks and melting distances of the Grampians district and the picturesque country in the vicinity of Sherbrooke.’1 He went on to note that Streeton’s ‘subject matter, particularly in the Grampians pictures, is scenic, in a typically Australian way, and there is evidence throughout… of an artistic sincerity of purpose, and a close and unbiassed observation of the changing effects in nature.’2 Celebrated as one of Australia’s most distinguished painters, Streeton was renowned for his depictions of the Australian landscape, and by the mid-1920s, had established a reputation as ‘the pre-eminent creator of national images’.3 In the aftermath of the First World War in particular, the Australian pastoral landscape assumed new and potent meaning, symbolising a peaceful and prosperous future, as well as contributing to the expression of a burgeoning national identity. As Mary Eagle notes, Streeton’s first paintings in that genre were created around Heidelberg in the late 1880s,3 and the best known of them, Golden Summer, Eaglemont, 1889 (National Gallery of Australia) – rolling grassy plains, gum trees and grazing sheep, together underneath a brilliant blue sky – combines all of the elements that characterise his now iconic ‘blue and gold’ landscapes.  While most lauded Streeton and his art during these years, some were critical of what they perceived to be an overly commercial attitude which included regular, well-promoted exhibitions and a business-like approach to sales. Similarly, a skilful technique and great facility with his medium was seen by some as a mark of insincerity, the sign of an artist who was resting on his laurels rather than pushing into new creative territory. The balance of judgement ultimately fell in Streeton’s favour however, with contemporary works that reflected the skill honed over the course of a long and productive career continuing to be acquired during these decades for major public collections including the National Gallery of Victoria, the National Gallery of New South Wales and the Art Gallery of Western Australia. In 1931, he was honoured with a major retrospective at the National Gallery of New South Wales, and additional acknowledgement of his career and contribution came six years later in the form of a knighthood for services to art.  Boronia Peak and Stawell emerged from Streeton’s first visit to the Grampians – or Gariwerd to its traditional owners – in the Western District of Victoria. In the Spring of 1920 he stayed at Harry Armytage’s farm at Dunkeld, in the shadow of Mount Sturgeon, and was clearly captivated by the pictorial potential of the area, returning again the following winter. Visiting once again in 1926, he stayed further afield at Willaura, where he began the Land of the Golden Fleece paintings in which the dramatic form of the Grampians rises up in the background, framing the pastoral scene below. In this work, Streeton’s vantage point takes us high up into the mountains, looking across an expanse of flat, open ground to a majestic mountain range that fills the picture plane, and into the landscape beyond. His brushwork is confident and varied, fine lines defining the white trunks of the trees in the foreground and much broader strokes, only slightly variegated in colour, describing the rugged, facetted forms of the mountain. He skilfully uses light to guide us through the scene, from the buildings and road in the lower right seemingly spot-lit through a break in the clouds, to the rocky outcrop in the upper left of the scene and finally, the lake in the upper right which reflects the delicate blue of the springtime sky. Distinctively of its time and place, this painting reminds us why Lionel Lindsay, writing a decade later, enthusiastically and presciently claimed that ‘The importance of Arthur Streeton to Australian Art cannot be overstated. He is great, as Melba was great, a product of the soil and sun of this wide land. In fifty years’ time… every art institution in this country will have its Streeton gallery when a greater recognition of his genius has been pronounced by time.’4   1. Colquhoun, A., ‘Arthur Streeton’s Art’, The Herald, Melbourne, 1 November 1920, p. 8 2. Ibid. 3. Eagle, M., The Oil Paintings of Arthur Streeton in the NGA, National Gallery of Australia, Canberra, 1994, p. 161 4. Lindsay, L., ‘Streeton’s loan exhibition’, Art in Australia, third series, no. 42, 15 February 1932, p. 9  KIRSTY GRANT

            Deutscher and Hackett
          • ARTHUR STREETON, MELBOURNE FROM SASSAFRAS, 1921
            Sep. 14, 2022

            ARTHUR STREETON, MELBOURNE FROM SASSAFRAS, 1921

            Est: $120,000 - $160,000

            ARTHUR STREETON (1867 - 1943) MELBOURNE FROM SASSAFRAS, 1921 oil on canvas 64.0 x 101.0 cm signed lower right: A STREETON PROVENANCE Mr Norman Bayles, Melbourne Leonard Joel, Melbourne, 2 November 1983, lot 40 (as 'Rain Burst over the Dandenongs') Lister Gallery, Perth Company Collection, Perth Sotheby's, Sydney, 8 May 2012, lot 33 Private collection, Melbourne Deutscher and Hackett, Melbourne, 6 May 2015, lot 43  Private collection, Melbourne  EXHIBITED Arthur Streeton, Victorian Artists' Society Galleries, Melbourne, 5 – 6 July 1921 Recent Australian Landscape by Arthur Streeton, Education Department, Sydney, 21 – 28 November 1921, cat. 2 LITERATURE ‘Art Notes. Paintings by Mr A. Streeton’, The Age, Melbourne, 6 July 1921, p. 11 ‘Mr Streeton’s Pictures’, The Argus, Melbourne, 6 July 1921, p. 13 Colquhoun, A., ‘Arthur Streeton’s Art’, The Herald, Melbourne, 6 July 1921, p. 9 ‘Arthur Streeton. A Farewell Exhibition’, The Sydney Morning Herald, Sydney, 22 November 1921, p. 11 Streeton, A., The Arthur Streeton Catalogue, Melbourne, 1935, cat. 731 (as 'Melbourne, from Sassafras', 1920) ESSAY After living in London for more than a decade, Arthur Streeton returned to Australia with his wife and young son for an extended visit in 1920. The following year, he purchased five acres of land at Olinda in the Dandenong Ranges east of Melbourne, fulfilling a long-held ambition to establish what he once described as his own ‘pastoral treasury’. Following the sale of Golden Summer, Eaglemont, 1889 (National Gallery of Australia) for the extraordinary sum of 1000 guineas, he built a house there several years later and enthusiastically began to develop a garden against the backdrop of mature native blackwoods and gum trees. Writing to Tom Roberts in 1924, he enthused, ‘And the garden and the trees, what a delight it is. All through the winter I’ve put in my week-ends up there… working at the bramble and bracken… and planting no end of trees… blackwoods… Lambertiana Cypress… Acacia Elata’.1   Typically spending summers at Olinda, as well as making regular visits throughout the year, Streeton came to know the area well, and both his garden and the surrounding landscape feature in paintings produced during the 1920s and 30s. Continuing the practice established in his youth, of painting outdoors and working directly from the subject – as well as in the studio – Streeton captured the essence and the actuality of the landscape, skilfully combining fleeting atmospheric effects with recognisable geographical features. At the time, his paintings were seen as symbols of Australian life and land, and today, Streeton is still widely acknowledged as the creator of quintessentially national images. His status as one of the country’s most celebrated painters was marked in 1931 with a retrospective exhibition at the National Art Gallery of New South Wales. Displaying more than 170 works of art, it was at the time, the largest such exhibition ever presented by that institution.2 Writing that same year, Harold Herbert noted that, ‘His unfailing sureness is a source of wonder. His unerring vision and sense of colour and atmosphere in Australian landscape are unique. His work vibrates with realism’.3 While many works of this time reflect Streeton’s familiarity with the region and his ability to capture the beauty of the landscape in paint, his strong belief in the importance of protecting the natural environment also emerged as a significant theme during these years, motivated in part by the transformation he witnessed as a result of active logging and clearing.   Located close to the highest peak of Mount Dandenong and just a short distance from Olinda, the township of Sassafras is named after a native evergreen tree which grows in the area’s cool temperate conditions. Streeton painted there on several occasions during 1921, and in Melbourne from Sassafras, 1921, he presents a monumental panoramic view. From a high vantage point, the scene looks out across densely treed hills in the foreground, opening up to a broad expanse of flat, partially cleared land that extends towards the distant city beyond. From his earliest painted impressions, such as those included in the famous 9x5 Impression Exhibition in 1889, to images of Sydney Harbour and classic ‘blue and gold’ pastoral landscapes, Streeton’s ability to convincingly depict light and atmosphere was a distinctive skill often commented upon by critics: ‘It all appears to be so simple – a daub of paint here and another of different colour there… A master of his medium, he gives us everything else… The great thing is the lasting impression of a landscape filled with light’.4   Streeton’s mastery is on full display here, the foreground hills resembling a patchwork of deep shadow contrasting with illuminated areas, the white trunks of tall trees glistening in the light. The cloudy, pale blue sky is marked by soft vertical brushstrokes which describe a shower of rain just right of centre, and highlight Streeton’s direct observation of the subject. Exhibited both in Melbourne and Sydney in 1921, the painting drew appreciative comment from contemporary critics, one of whom wrote that ‘the Victorian metropolis is… little more than suggested, [but] the interest [arises] from the poetry of the treatment… Melbourne from Sassafras, affords a nearer glimpse [of the city], but the interest is chiefly due to the clever handling of the sky from which showers of rain over the level field break the light. The technical difficulty of suggesting the myriad of trees massed on the rising steep in the foreground has been overcome with a sombre effect which contrasts with the animation of the scene below.’5   1. Streeton to Tom Roberts, 13 August 1924, quoted in Croll, R. H., Smike to Bulldog: Letters from Sir Arthur Streeton to Tom Roberts, Ure Smith Pty Ltd, Sydney, 1946, p. 119 2. Tunnicliffe, W., ‘The Big Picture: National Landscapes’ in Tunnicliffe, W. (ed.), Streeton, Art Gallery of New South Wales, Sydney, 2020, p.265 3. Herbert, H., ‘Art of Arthur Streeton, Sunlit Landscapes, Beautiful Flower Pieces’, Argus, 17 March 1931, p. 8 quoted in Eagle, M., The Oil Paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, p. 154 4. Ibid. 5. Sydney Morning Herald, Sydney, 22 November 1921, p. 11   KIRSTY GRANT

            Deutscher and Hackett
          • ARTHUR STREETON CATALOGUE
            Sep. 02, 2022

            ARTHUR STREETON CATALOGUE

            Est: $400 - $500

            The Arthur Streeton Catalogue. Published in Melbourne by Arthur Streeton in 1935. Original cloth, unevenly faded, hinges to the cloth spine starting to split. Else a very good copy. Number 249 in an edition of 500 copies signed by Arthur Streeton. Contains 2 black and white portraits photographs of Arthur Streeton, one when he was aged 20 and the other when he was 67; 26 tipped-in coloured plates and 18 black and white plates Rather scarce

            Sydney Rare Book Auctions
          • ARTHUR STREETON 1867-1943 Blackwood Tree (1934) oil on canvas
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 Blackwood Tree (1934) oil on canvas

            Est: $60,000 - $80,000

            ARTHUR STREETON 1867-1943 Blackwood Tree (1934) oil on canvas signed 'ARTHUR STRETON [sic]' lower left 61 x 51 cm frame: original, John Thallon, Melbourne PROVENANCE Arthur Streeton, Melbourne Mr H.G. Hawken, Melbourne, acquired from the above in 1934 James R. Lawson, Sydney Private Collection, Sydney, acquired from the above in circa 1960 Private Collection, Sydney, by descent from the above EXHIBITED An Exhibition of Arthur Streeton's Paintings, The Athenaeum Gallery, Melbourne, 4-16 June 1934, no. 22, 70 gns LITERATURE Arthur Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat. no. 1101

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Unloading Bricks, Kew (1905) oil on wood panel
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 Unloading Bricks, Kew (1905) oil on wood panel

            Est: $80,000 - $120,000

            ARTHUR STREETON 1867-1943 Unloading Bricks, Kew (1905) oil on wood panel signed 'A S' lower left 18.8 x 24.2 cm frame: original, maker unknown PROVENANCE Arthur Streeton Sir Water Baldwin Spencer, Melbourne, acquired from the above in 1907 Captain and Mrs Clive Rowan, Melbourne, by descent from the above Private Collection, Victoria, by descent from the above Important Australian Art, Sotheby's Australia (now trading as Smith & Singer), Sydney, 25 August 2015, lot 99, illustrated Private Collection, Sydney, acquired from the above EXHIBITED An Exhibition of Pictures by Arthur Streeton Prior to his Return to Europe, Upper Hibernian Hall, Melbourne, 20-27 April 1907, no. 35, £15.15.0 Baldwin Spencer Loan Collection, Prahran Town Hall, Melbourne, 20 December 1911 - 1912, no. 10 Sir W. Baldwin Spencer's Collection, National Art Gallery of New South Wales, Sydney, 1 December 1916, no. 11, 'Unloading Bricks' (label verso) Loan Exhibition of Australian Paintings, National Gallery of Victoria, Melbourne, 9 July - 29 August 1925, no. 33, 'Loading Bricks' (label verso) Arthur Streeton Memorial Exhibition, National Gallery of Victoria, Melbourne, 5 September - 7 October 1944, no. 56, 'Loading Bricks' (label verso)

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Strood Hill (1904) oil on canvasboard
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 Strood Hill (1904) oil on canvasboard

            Est: $35,000 - $45,000

            ARTHUR STREETON 1867-1943 Strood Hill (1904) oil on canvasboard signed and inscribed 'Strood Hill / Arthur Streeton' verso 18 x 24 cm frame: original, maker unknown PROVENANCE Arthur Streeton, London Dame Nellie Melba GBE, Melbourne, acquired from the above Lady Pamela Vestey, Melbourne, by descent from the above Property from the Collection of Dame Nellie Melba GBE, Sotheby's Australia (now trading as Smith & Singer), Melbourne, 31 March 2015, lot 54, illustrated Private Collection, Sydney, acquired from the above

            Smith & Singer
          • ARTHUR STREETON 1867-1943 A Kentish Pastoral (1904) oil on wood panel
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 A Kentish Pastoral (1904) oil on wood panel

            Est: $55,000 - $75,000

            ARTHUR STREETON 1867-1943 A Kentish Pastoral (1904) oil on wood panel signed 'A STREETON' lower right 18.5 x 24 cm PROVENANCE Arthur Streeton, London Sir Water Baldwin Spencer, Melbourne, acquired from the above in 1907 Lady Spencer, Melbourne, by descent from the above Mrs Aileen Rowan, Victoria, by descent from the above Mr Richard Rowan, Victoria, by descent from the above Private Collection, New South Wales, by descent from the above Australian & International Fine Art & Sculpture, Menzies, Sydney, 28 March 2019, lot 14, 'Kent Harvest', illustrated Private Collection, Sydney, acquired from the above EXHIBITED An Exhibition of Pictures by Arthur Streeton Prior to his Return to Europe, Upper Hibernian Hall, Melbourne, 20-27 April 1907, no. 36, illustrated, £15.15.0 Baldwin Spencer Loan Collection, Prahran Town Hall, Melbourne, 20 December 1911 - 1912, no. 15, 'Sussex Idyll' Sir W. Baldwin Spencer's Collection, National Art Gallery of New South Wales, Sydney, 1 December 1916, no. 12, 'Sussex Idyll' Loan Exhibition of Australian Paintings, National Gallery of Victoria, Melbourne, 9 July - 29 August 1925, no. 32, 'Kent Harvest' (label verso) Heidelberg Art Exhibition, Ivanhoe Hall, Melbourne, 16 November 1934, no. 36, 'The Haystack' LITERATURE Sydney Ure Smith, Bertram Stevens and Charles Lloyd Jones (eds), Art in Australia, Angus & Robertson, Sydney, vol. 1, no. 2, 1917, (p. 21) (illustrated), 'Kent Harvest' Charles Lloyd Jones, Bertram Stevens and Sydney Ure Smith (eds), The Art of Arthur Streeton, Angus & Robertson, Sydney, 1919, plate XXXV, 'Kent Harvest' Ann Galbally, Arthur Streeton, Lansdowne Press, Melbourne, 1969, no. 103, 'Kent Harvest c. 1909' Mary Eagle, The Oil Paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, p. 145

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Melrose Abbey (1912) oil on canvas
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 Melrose Abbey (1912) oil on canvas

            Est: $50,000 - $70,000

            ARTHUR STREETON 1867-1943 Melrose Abbey (1912) oil on canvas signed 'A STREETON' lower left, inscribed 'MELROSE' lower right 64.3 x 76.7 cm PROVENANCE: Arthur Streeton, London Oliver Streeton, Melbourne, by descent from the above Paintings: Australian and Overseas, Leonard Joel, Melbourne, 21 July 1966, lot 138 Private Collection Australian Historical and Contemporary Paintings, Drawings and Sculpture, Christie's Australia, Melbourne, 1 March 1973, lot 257, 'Melrose', illustrated Private Collection, Sydney, acquired from the above Private Collection, Sydney, by descent from the above EXHIBITIONS: Mr Streeton's Pictures, Victorian Artists' Society Galleries, Melbourne, 5 June 1914, no. 82, £63.0.0 Sir Arthur Streeton's Exhibition of Paintings, The Athenaeum Gallery, Melbourne, 24 August - 4 September 1937, no. 6, 150 gns

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Lilies and Bells (1935) oil on canvas
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 Lilies and Bells (1935) oil on canvas

            Est: $200,000 - $300,000

            ARTHUR STREETON 1867-1943 Lilies and Bells (1935) oil on canvas signed 'ARTHUR STREETON--' lower right 64.2 x 102 cm frame: original, John Thallon, Melbourne PROVENANCE: Arthur Streeton, Melbourne Oliver Streeton, Melbourne, by descent from the above Julian Sterling, Melbourne Julian's, Leonard Joel, Melbourne, 12 September 1978, lot 936, 'View of Flowers from the Window, Olinda', illustrated Private Collection, Melbourne, acquired from the above EXHIBITIONS: An Exhibition of Oil Paintings by Arthur Streeton: Landscapes and Flowers, The Athenaeum Gallery, Melbourne, 10-22 June 1935, no. 7, 150 gns Exhibition of Paintings by Sir Arthur Streeton, The Athenaeum Gallery, Melbourne, 11-23 January 1943, no. 19, 170 gns (Possibly) Paintings by Sir Arthur Streeton, The Athenaeum Gallery, Melbourne, 14-24 February 1961, no. 28 Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 8 December 1995 - 12 February 1996; Art Gallery of South Australia, Adelaide, 1 March - 14 April 1996; Art Gallery of Western Australia, Perth, 2 May - 16 June 1996; Queensland Art Gallery, Brisbane, 9 July - 25 August 1996; Art Gallery of New South Wales, Sydney, 11 October - 24 November 1996, no. 78, illustrated (label verso) Arthur Streeton: The Passionate Gardener, Mornington Peninsula Regional Gallery, 9 December 2001 - 17 February 2002, no. 25, illustrated Streeton, Art Gallery of New South Wales, Sydney, 7 November 2020 - 14 February 2021, illustrated LITERATURE: Lionel Lindsay, 'Arthur Streeton and His Magic Brush', The Herald, Melbourne, 10 June 1935, p. 8 'Landscapes and Flowers by Arthur Streeton', The Age, Melbourne, 11 June 1935, p. 5 Harold Herbert, 'Arthur Streeton. Great Painter of Australia. Brilliant Flower Pieces', The Argus, Melbourne, 11 June 1935, p. 7 Geoffrey Smith, Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 1995, pp. 182, 183 (illustrated) Geoffrey Smith and Oliver Streeton, Arthur Streeton: The Passionate Gardener, Mornington Peninsula Regional Gallery, Mornington, 2001, cover (illustrated), pp. 12, 22 Wayne Tunnicliffe (ed.), Streeton, Art Gallery of New South Wales, Sydney, 2020, pp. 305 (illustrated), 373

            Smith & Singer
          • ARTHUR STREETON 1867-1943 Evening Light (Venice) (1908) oil on canvas
            Aug. 24, 2022

            ARTHUR STREETON 1867-1943 Evening Light (Venice) (1908) oil on canvas

            Est: $500,000 - $700,000

            ARTHUR STREETON 1867-1943 Evening Light (Venice) (1908) oil on canvas signed 'A STREETON' lower left 50.3 x 76.1 cm frame: Charles Hewitt, Sydney PROVENANCE: Arthur Streeton, London Rt Hon. Russell Rea, London (label verso), acquired from the above Private Collection John Schaeffer, Sydney Fine Australian Paintings and Drawings, Sotheby's Australia, Melbourne, 6 April 1987, lot 48A, 'St. Mark's Square, Venice', illustrated Private Collection, Sydney, acquired from the above Private Collection, Adelaide Cooks Hill Galleries, Newcastle Private Collection, Canberra, acquired from the above on 19 September 2006 Private Collection, Sydney, by descent from the above EXHIBITIONS: Arthur Streeton, Alpine Club Gallery, London, 26 March - 9 April 1909, no. 10, 'Evening Light', 60 gns LITERATURE: The British Australasian, London, April 1909 The Daily Graphic, London, 6 April 1909 The World, London, 14 April 1909

            Smith & Singer
          • STREETON Arthur (1867-1943), 'Conservatoire of Music, Vannes.', Pencil, 23.5x34cm
            Aug. 21, 2022

            STREETON Arthur (1867-1943), 'Conservatoire of Music, Vannes.', Pencil, 23.5x34cm

            Est: $1,000 - $2,000

            STREETON, Arthur (1867-1943) 'Conservatoire of Music, Vannes.' Initialled & titled lower right. Pencil 23.5x34cm PROVENANCE: A private collection, Sydney.

            Davidson Auctions
          • ARTHUR STREETON, BALMAIN & LEICHHARDT, FROM HOLTERMANN’S TOWER, C.1921
            Jul. 27, 2022

            ARTHUR STREETON, BALMAIN & LEICHHARDT, FROM HOLTERMANN’S TOWER, C.1921

            Est: $250,000 - $350,000

            ARTHUR STREETON (1867 - 1943) BALMAIN & LEICHHARDT, FROM HOLTERMANN’S TOWER, c.1921 oil on wood panel 16.5 x 66.0 cm signed lower right: A STREETON. inscribed verso: OUTHWAITE / … / DEC 1 / No 1 PROVENANCE Edward Walter Outhwaite, Melbourne, by 1935 (inscribed verso) Thence by descent Private collection, Melbourne Christie’s, Melbourne, 18 April 1994, lot 46 (as ‘Balmain and Leichardt’ [sic.]) Private collection, Sydney, acquired from the above Sotheby’s, Melbourne, 24 November 1998, lot 30 (as ‘Balmain and Leichhardt’) Joseph Brown Gallery, Melbourne, acquired from the above The Cbus Collection of Australian Art, Melbourne, acquired from the above on 25 November 1998  EXHIBITED Streeton's Show of the Sunlit Suburbs of Sydney, Athenaeum Hall, Melbourne, 31 October – 5 November 1921, cat. 1 (as ‘Balmain and Leichardt [sic.], from Haltermann’s [sic.] Tower’)  Arthur Streeton: Blue and Gold, Carrick Hill, Adelaide, 25 October 2017 – 25 February 2018  on long term loan to Geelong Art Gallery, Victoria  LITERATURE Colquhoun, A., ‘Sydney Harbour on Canvas. Charm of Arthur Streeton’, The Herald, Melbourne, 31 October 1921, p. 7 (as ‘Balmain and Leichhardt, from Halterman’s Tower’ [sic.]) ‘Mr Streeton’s Pictures’, The Argus, Melbourne, 1 November 1921, p. 4 (as ‘Balmain and Leichhardt, from Halterman’s Tower’[sic.]) probably: Streeton, A., The Arthur Streeton Catalogue, Melbourne, 1935, cat. 765 (as ‘Panel, Balmain and Leichhardt’)  Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, pp. 17, 44 – 45 (illus.), 232 ESSAY Arthur Streeton first visited Sydney in 1890. Enthralled by the sparkling blue harbour and surrounding landscape, he later wrote to Theodore Fink in Melbourne, declaring ‘Sydney is an artist’s city – glorious’.1 Residing there for most of the following six years, he painted at various locations including Coogee, Manly, Curlew Camp – where he lived for a time on the shores of Little Sirius Cove – as well as recording views of the burgeoning, bustling city and nearby Circular Quay. He was captivated by the ocean, describing it in a letter to Tom Roberts as, ‘a big wonder… a great miracle’, which was ‘hard to comprehend… like death & sleep’2, and it was a central focus of many paintings of the time, typically coloured vivid ‘Streeton blue’ and reflecting clear skies above. Streeton’s paintings became so synonymous with the harbour that in 1900, only a decade after his first visit, The Bulletin claimed that he, rather than Captain Arthur Phillip, had ‘discovered’ Sydney Harbour.3  The lure of the harbour city remained strong and although Streeton lived overseas between 1897 and 1920, and was based in Melbourne upon his return, he visited Sydney on more than eleven occasions between 1906 and 1937.4 Returning to Australia in February 1920, he went to Sydney two months later, explaining to a Daily Telegraph journalist, ‘Every time I get back, Sydney looks finer… Even with all the new buildings… I want to do one fine thing of Sydney… The point of view is the difficulty – the elevation.’5 Streeton found the elevation he wanted in 1921, producing a number of paintings which depicted aspects of the city and surrounds viewed from high vantage points, including some of the new buildings which had been constructed during his absence. Golden Bay, Sydney, 1921 (private collection), for example, was painted from the top of Cliveden, a twelve-storey commercial building in Bridge Street, which was built in 1915. Focussing on rooftops and the architectural detail of familiar buildings including the Lands Department building with its clock and copper top in the foreground, a glimpse of Farm Cove to the left, this painting exemplifies the Sydney which Streeton later described in glowing terms, ‘…her architecture towers up in golden brown stone, and the scarf or belt blowing about her waist is the magic blue harbour’.6 Most likely also painted during this trip, Balmain and Leichhardt, from Holtermann’s Tower, c.1921, saw Streeton working from the tower of a grand Victorian mansion built in 1874 by Bernard Otto Holtermann in Lavender Bay on Sydney’s North Shore. A stained-glass window in the tower depicted the master of the house with the huge gold nugget that was the source of his fortune. Discovered near Hill End in 1871 and weighing in at 630 pounds (286 kilograms), it was said to be the world’s largest specimen of reef gold.7 Alongside his political pursuits, Holtermann was involved in early photographic activities, and working with Charles Bayliss, produced a remarkable panorama of Sydney from the tower using a large-format camera with a long-range lens. It is reasonable to assume that Streeton knew about the ‘Holtermann panorama’ and perhaps, had even seen it, and access to the tower must have been arranged through the Sydney Church of England Grammar School (Shore), which had acquired the building in the late 1880s following Holtermann’s death.  The outlook from the tower, 27 meters above ground, afforded Streeton a spectacular view of Sydney, taking in its distinctive geography and the sinuous juxtaposition of land and sea, looking across Berry’s Bay in the foreground, towards Balls Head reserve and Waverton, with Leichhardt in the distance. Combining a wide panoramic view with carefully painted details of boats in the water and gantries, the painting adopts the wide format of earlier views such as Circular Quay, 1893 and At Coogee, 1895 (both in the collection of the National Gallery of Victoria) which emphasised the horizon line and were sometimes painted on draper’s boards.8 Streeton showed a selection of the paintings made in Sydney in his 1921 exhibition at the Athenaeum Hall in Melbourne, which was alliteratively titled Streeton’s Show of the Sunlit Suburbs of Sydney. The Argus critic was full of praise, highlighting his ability to convincingly depict great distances and writing that ‘Mr. Streeton is noted for his rendering of [Sydney Harbour], and he presents a series of panoramic views well up to the standard of beauty that he has set himself to achieve. What he puts down is full of great charm of colour, handled with masterly ease.’9 Drawing particular comment, this painting was described as an ‘atmospheric study [in which]… these qualities of colour and facile brushwork are given full play with admirable results.’10 1. Streeton to Theodore Fink, September 1891, cited in Mimmocchi, D., ‘An Artist’s City: Streeton in Sydney’ in Tunnicliffe, W., Streeton, Art Gallery of New South Wales, Sydney, 2020, p. 90 2. Streeton to Tom Roberts, cited in Eagle, M., ‘Streeton in the City of Laughing Loveliness’, Lane, T., Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, p. 207 3. See Bonyhady, T., The Colonial Earth, Melbourne University Press, Melbourne, 2002, p. 327 4. Hutchison, H., ‘The Golden City’ in Tunnicliffe, op. cit., p. 282 5. Streeton cited in ‘To paint Sydney: Arthur Streeton returns’, Daily Telegraph, Sydney, 20 April 1920, p. 5, cited in Hutchison, ibid., p.283 6. Streeton, A., ‘Beauty of Sydney: the city’s architecture’, Sydney Morning Herald, 5 December 1936, p. 13, op. cit., p.282 6. Burke, K., ‘Holtermann, Bernhardt Otto (1838 – 1885)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/holtermann-berhardt-otto-3787/text5989, published first in hardcopy 1972, accessed online 2 June 2022 7. See Hutchison, op. cit., p. 282 8. ‘Mr Streeton’s Pictures’, The Argus, Sydney, Melbourne, 1 November 1921, p. 4 9. Ibid. KIRSTY GRANT

            Deutscher and Hackett
          • ARTHUR STREETON (1867-1943), Harvest, Merri Creek 1885
            Jun. 29, 2022

            ARTHUR STREETON (1867-1943), Harvest, Merri Creek 1885

            Est: $4,000 - $6,000

            ARTHUR STREETON (1867-1943) Harvest, Merri Creek 1885 watercolour on paper 15.5 x 23.0 cm signed indistinctly lower left: A Streeton signed with initials, dated and inscribed verso: Harvest near Merri Creek/ 24/1/85/ AES bears inscription on backing verso: "Harvest"/ Merri Creek/ by/ A E Streeton/ From the I W Hines Collection/ A S McMichael

            Menzies
          • ARTHUR STREETON (1867-1943), A Study - Rochester c1905
            Jun. 29, 2022

            ARTHUR STREETON (1867-1943), A Study - Rochester c1905

            Est: $12,000 - $18,000

            ARTHUR STREETON (1867-1943) A Study - Rochester c1905 pencil and watercolour on paper 32.0 x 49.5 cm signed lower right: Arthur Streeton inscribed lower left: A Study -/ Rochester

            Menzies
          • Arthur Streeton
            Jun. 24, 2022

            Arthur Streeton

            Est: $100 - $120

            Arthur Streeton by Ann Galbally General Editor John Henshaw Melbourne Lansdowne Press 1969. Number 149 in a special leather bound edition of 250 copies. Black and white illustrations as well as many tipped in colour plates

            Sydney Rare Book Auctions
          • ARTHUR STREETON, IMMENSE SOLITUDINA D'ARENA, PENCIL ON PAPER, 35 X 20CM, FRAME SIZE: 47 X 53CM MINOR SKETCH PRESENT ON VERSO BEHIN...
            Jun. 16, 2022

            ARTHUR STREETON, IMMENSE SOLITUDINA D'ARENA, PENCIL ON PAPER, 35 X 20CM, FRAME SIZE: 47 X 53CM MINOR SKETCH PRESENT ON VERSO BEHIN...

            Est: $2,000 - $3,000

            ARTHUR STREETON, IMMENSE SOLITUDINA D'ARENA, PENCIL ON PAPER, 35 X 20CM, FRAME SIZE: 47 X 53CM MINOR SKETCH PRESENT ON VERSO BEHIND FRAME

            Leonard Joel
          • STREETON Arthur (1867-1943), 'Melrose Abbey,' 1900., Pencil, 24x33.5cm
            May. 22, 2022

            STREETON Arthur (1867-1943), 'Melrose Abbey,' 1900., Pencil, 24x33.5cm

            Est: $2,000 - $3,000

            STREETON, Arthur (1867-1943) 'Melrose Abbey,' 1900. Old label affixed verso, likely written by the artist: 'Arthur Streeton, Melrose Abbey 1900.' Pencil 24x33.5cm

            Davidson Auctions
          • ARTHUR STREETON, CAIRO, STREET SCENE, 1898
            May. 04, 2022

            ARTHUR STREETON, CAIRO, STREET SCENE, 1898

            Est: $18,000 - $24,000

            ARTHUR STREETON (1867 - 1943) CAIRO, STREET SCENE, 1898 watercolour on paper on card 36.5 x 17.5 cm signed lower right: Arthur STREETON  bears inscription verso: Mrs Walker / Cooldrina / Packington St / Kew PROVENANCE Ada Walker, Victoria, a gift from the artist Pearl Fagan (née Reed), Victoria, a gift from the above Lysbeth St John Romaine Knight (née Fagan), New South Wales Private collection, New South Wales, a gift from the above in the 1980s

            Deutscher and Hackett
          • ARTHUR STREETON, OLINDA HILLSIDE,
            May. 04, 2022

            ARTHUR STREETON, OLINDA HILLSIDE,

            Est: $65,000 - $85,000

            ARTHUR STREETON (1867 - 1943) OLINDA HILLSIDE oil on canvas 51.5 x 77.0 cm signed lower left: A STREETON PROVENANCE Private collection Christie's, Melbourne, 13 March 1975, lot 350 (as 'Dandenong Ranges') Private collection, Melbourne ESSAY With their remarkable evocation of light, atmosphere, colour and form, Arthur Streeton’s landscapes remain among the most highly regarded and much-loved paintings in Australian art. From his sun-drenched impressionist scenes of the 1880s, to his joyful depictions of Sydney’s beaches and harbour in the 1890s and grand pastorals of the 1920s and 30s, he has bequeathed a rich legacy of images that celebrate Australia’s unique natural environment and continue to define our national consciousness. Among his later landscape achievements arguably most poignant are those inspired by Streeton’s time at Olinda in the Dandenong ranges – encapsulated magnificently in this auction by lot 19 and the present, Olinda Hillside. Not only do such works remain unparalleled in their concerted quality, but they are significant for their sensitivity to place and to the conservation concerns of the artist who was staunchly opposed to the increasing devastation of the area’s native forests and trees. After twenty-three years abroad as an expatriate in London, Streeton returned to Australia permanently in September 1923 and, following the sale of his iconic Golden Summer, Eaglemont, 1889 (National Gallery of Australia) for the extraordinary sum of 1000 guineas in 1924, was able to build a house on land he had purchased in 1921 at Olinda in the Dandenong Ranges. Initially a weekend retreat and place of contemplation before becoming his permanent home in 1939 after the death of his wife Nora, the house he built there – ‘Longacres’ – and the surrounding hills and panoramic vistas offered the perfect setting for Streeton to consolidate his appreciation of momentary sensations of colour and light and to explore new ways of representing the Australian landscape. As he wrote to his dear friend and fellow artist, Tom Roberts, ‘It’s refreshing to note how the old Dandenong Range takes hold directly as soon as you get there…’1 Living in this landscape, nurturing the indigenous trees on his property, and blending them into a garden of introduced plants and flowers led to an intimate knowledge of the environment2 – and in turn, some of his most enduring and memorable works. Capturing the ephemeral beauty of the area, Olinda Hillside exudes a tangible sense of the arcadian pleasure Streeton found in his self-made paradise through the charm of everyday domestic detail, the verve of the brushwork, and the easy harmony of the composition. Bathed in a gentle light that is uniquely Australian, indeed the work does not bear the character of a political statement in the vein of other Olinda paintings such as Last of the Messmates, 1928 (private collection); The Vanishing Forest, 1934 (Art Gallery of Ballarat, on loan from the Estate of Margery Pierce), or particularly, the starkly confronting Sylvan Dam and Donna Buang AD 2000, 1940 (private collection) where Streeton not only documents the damage being wreaked on the natural world, but condemns with growing vehemence the political and commercial motivations underlying it. A passionate environmentalist in his later years, Streeton notably questioned why ‘should we suffer hundreds and hundreds of acres of valuable timber to be destroyed to facilitate some work of the moment when so little is gained for it?’3 Moreover, cultural historian Tim Bonyhady, has observed that from 1930 onwards ‘…one of Streeton’s refrains became that his ideal of an afterlife was not the ‘ghastly monotony’ of either heaven or hell but to come back to Olinda, haunt his blackwoods and ‘scare the life’ out of anyone who cut down any of the trees he had planted.’4 1. Streeton letter, 7 May 1923, cited in Galbally, A. (ed.), Letters from Smike: The Letters of Arthur Streeton, 1890 – 1943, Oxford University Press, Melbourne, 1989, p.170  2. Tunnicliffe, W., ‘The Big Picture: National Landscapes’ in Streeton, Art Gallery of New South Wales, Sydney, 2020, p. 260 3. Argus, Melbourne, 27 November 1925, p. 23, quoted in Eagle, M., The Oil Paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, p. 164 4. Bonyhady, T., ‘Beware of the Axe’ in Streeton, op. cit, p. 313 VERONICA ANGELATOS

            Deutscher and Hackett
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