{"title":"The George Bell Circle","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLed by George Bell, the George Bell Circle was instrumental in Australian Modernism. From his Toorak home and premises on Bourke Street, Bell introduced a generation of artists to the ideas of European modernism: the importance of form and composition; design techniques; and using colour to accentuate form, not mimic reality. Among his formal and informal students were Eric Thake, Fred Williams, Sybil Craig, Dorothy Braund, Constance Stokes and Vic O’Connor. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cbr\u003eDiscover the fascinating story behind Bell and why he championed modern art \u003cspan style=\"text-decoration: underline;\"\u003e\u003ca href=\"https:\/\/artandcollectors.com\/pages\/the-george-bell-school-understanding-australian-modernism\" target=\"_blank\" title=\"The George Bell School: Understanding Australian Modernism\" rel=\"noopener noreferrer\"\u003ehere\u003c\/a\u003e\u003c\/span\u003e.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"o-connor-vic-winter-sunshine-6030","title":"Vic O'Connor 'Winter Sunshine'","description":"\u003cp\u003eVic O’Connor was an instrumental member of Melbourne’s progressive social realist group, which also included Noel Counihan and Yosl Bergner. Together, they rallied against the art establishment with the fundamental belief that art and politics ought not be separated. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis political edge pervades O’Connor’s work. Influenced by a childhood spent working at Melbourne’s Victoria Markets, he depicted the hard work, comradeship and poverty associated with market life. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn ‘Winter Sunshine’, O’Connor envisions a shadowy landscape that, like an optical illusion, suggests something different with every glance. It is intensely evocative, recalling the tiring journey home after a long day’s work. The original plate for this linocut was cut in 1949, with a limited edition (of which this works stems) being pulled in 1980 at Whaling Road Studio. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA notable figure in Australia’s artistic and political life, O’Connor is represented in numerous regional, institutional and public collections including at the National Gallery of Victoria and the Art Gallery of New South Wales. For collectors of Modernist Australian art, as well as those invested in politics and the underdog, O’Connor is an enriching find.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e \u003cbr\u003eVic O'CONNOR (1918 - 2010)\u003cbr\u003e'Winter Sunshine' 1949\u003cbr\u003eLinocut on paper\u003cbr\u003eEdition of 9\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 26 x 16 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 38 x 30 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled, dated and editioned in margin\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e \u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-weight: 400;\"\u003e© The Artist or Assignee\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":31339243331,"sku":"","price":150.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/o-connor-vic-winter-sunshine-6030.jpg?v=1478825858"},{"product_id":"o-connor-vic-going-home-6032","title":"Vic O'Connor 'Going Home'","description":"\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eVic O’Connor was an instrumental member of Melbourne’s social realist group. This group, which also included Noel Counihan and Yosl Bergner, rallied against the art establishment, pursuing a progressive political agenda. Their fundamental belief was that art and politics ought not be separated. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThis political edge pervades O’Connor’s work. Influenced by a childhood spent working at Melbourne’s Victoria Markets, he depicted the hard work, comradeship and poverty associated with market life. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eGoing Home\u003c\/em\u003e, O’Connor envisions a shadowy urban strip, occupied only by a lone figure with his back to us. The work is evocative, recalling the tiring journey home after a long day’s work. O’Connor’s vision is neither overly sentimental nor didactic, choosing instead to highlight the reality of those often forgotten by the mainstream. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eA notable figure in Australia’s artistic and political life, O’Connor is represented in numerous regional, institutional and public collections including at the National Gallery of Victoria and the Art Gallery of New South Wales. For collectors of Modernist Australian art, as well as those invested in politics and the underdog, O’Connor is enriching. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eVic O'CONNOR (1918 - 2010)\u003cbr\u003e'Going Home' 1949 \/ 80\u003cbr\u003elinocut\u003cbr\u003eEdition of 75\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 12 x 14 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 38 x 28 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled, dated and editioned in margin.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e \u003cbr\u003eCondition is \u003cstrong\u003eVery Good.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(C) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":19688751333446,"sku":"","price":150.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/o-connor-vic-going-home-6032.jpg?v=1545162783"},{"product_id":"lymburner-francis-two-figures-9807","title":"Francis Lymburner 'Two Figures'","description":"\u003cp\u003eIn this elegant etching, Australian artist Francis Lymburner sets up an interior scene. Captured from above, two characters are captured in conversation. Unable to join in, the viewer is left imagining what their topic may be. In the 1940s, alongside William Dobell and Russell Drysdale, Lymburner was at the forefront of Sydney’s art scene. A drawer of animals - human and other - performers and the everyday, he propelled the viewer into his world.\u003c\/p\u003e\n\u003cp\u003eIn 1992, the Art Gallery of New South Wales held a retrospective of his work and today, he is represented in most public collections.\u003c\/p\u003e\n\u003cp\u003eThe present etching, completed by Lymburner prior to his death, was printed posthumously, verified by the artist’s widow, Mavis Lymburner, and authorised with initials by the artist’s son, Julian Lymburner.\u003cbr\u003e \u003cbr\u003e\u003cbr\u003eFrancis LYMBURNER (1916 - 1972)\u003cbr\u003e'Two Figures' 1986\u003cbr\u003eetching on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 12 x 17 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed with initials, dated and inscribed in margin in pencil below image: A\/P JL 86\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art’s image As New, but may show some small signs of surrounding wear. There are no tears to paper margin or disruption to paint surface. Image is in Fine condition.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Angela Tandori Fine Art","offers":[{"title":"Default Title","offer_id":31299772153926,"sku":"","price":295.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/lymburner-francis-two-figures-9807.jpg?v=1578373624"},{"product_id":"graham-anne-lovers-in-autumn-4809","title":"Anne Marie Graham 'Lovers in Autumn'","description":"\u003cp\u003eAnne Marie Graham sees visual art and music as parallel. Within her preferred subject, nature, rhythms abound her: the crescendo of a sloping hill; staccato blossoms of a springtime tree; and steady beat of an azure sky.\u003c\/p\u003e\n\u003cp\u003eThis aural imagining permeates ‘Lovers in Autumn’. Large and richly coloured, this work sees Graham conduct a visual symphony. Seagulls punctuate rolling grass, bordered by wooly trees; in the distance looms a formidable structure. There is something hypnotic here, like sweet nothings exchanged between lulled lovers.\u003c\/p\u003e\n\u003cp\u003eArmed with a unique vision, Graham is an esteemed artist. She was born in Austria, studied under George Bell and is inspired by the wit and humanity of Pieter Bruegel. The job of an artist to guide the onlooker, take him for a walk in the picture – and that means composition, of course says Graham.\u003c\/p\u003e\n\u003cp\u003eFor collectors of screenprints, landscapes and Australian art, ‘Lovers in Autumn’ is a rich find. \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/anne-graham?_pos=1\u0026amp;_psq=anne+marie\u0026amp;_ss=e\u0026amp;_v=1.0\" rel=\"noopener\" target=\"_blank\"\u003eAnne Marie GRAHAM\u003c\/a\u003e (1925 - )\u003cbr\u003e'Lovers in Autumn' 1985\u003cbr\u003escreenprint on paper\u003cbr\u003eEdition of 90\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 86 x 56 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 121 x 80 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, titled and editioned in margin.\u003c\/p\u003e\n\u003cp\u003e Comes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eAvailability: in stock\u003cbr\u003e \u003cbr\u003eCondition: Excellent \u003cbr\u003e \u003cbr\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":39417397018694,"sku":"","price":395.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/graham-anne-lovers-in-autumn-4809.jpg?v=1627611244"},{"product_id":"craig-sybil-crawling-vines-13309","title":"Sybil Craig 'Crawling Vines'","description":"\u003cp\u003eArt historian Mary Eagle once described Australian modernist Sybil Craig as “devastatingly direct” and “almost overwhelmingly vital”. She was born a tomboy to affluent parents and in 1945, was the third woman ever to be appointed an official war artist, the first to paint women working in the munitions factories. \u003cbr\u003e\u003cbr\u003eAs an official war artist, she produced bright, vivacious scenes of women at work grounded in her pedagogy under the esteemed Bernard Hall and George Bell. At home however, she allowed herself to experiment, creating “exercises” she withheld from sale. These works, instinctive and marvellous, are bursts of vitality from the twentieth century. \u003cbr\u003e\u003cbr\u003eOn a fellowship from the State Library of Victoria, playwright Monica Raszewski developed a play about Craig. The work ruminates on the division between public and private – what must be exhibited to the world, and what is privately felt. In this elegant drawing, this tension lingers. Demure but bright, daring yet slight.\u003cbr\u003e\u003cbr\u003eRepresented at the National Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia, State Library of Victoria and across regional galleries, Craig is a luminous yet under-observed figure of Australian modernism. She will enrich collections of important works on paper and female artists. \u003cbr\u003e\u003cbr\u003eIn this bewitching drawing lies a person and history deserving of our attention. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSybil CRAIG (1901 - 1989)\u003cbr\u003e'Crawling Vines' 1979\u003cbr\u003emixed media on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 28 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 41 x 27 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed 'Sybil Craig' and dated upper right\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis work of art is mounted and ready to frame.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40379749564486,"sku":"","price":295.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/craig-sybil-crawling-vines-13309.jpg?v=1666672028"},{"product_id":"craig-sybil-fruit-bowl-ii-13311","title":"Sybil Craig 'Fruit Bowl II'","description":"\u003cp\u003eArt historian Mary Eagle once described Australian modernist Sybil Craig as “devastatingly direct” and “almost overwhelmingly vital”. She was born a tomboy to affluent parents and in 1945, was the third woman ever to be appointed an official war artist, the first to paint women working in the munitions factories. \u003cbr\u003e\u003cbr\u003eAs an official war artist, she produced bright, vivacious scenes of women at work grounded in her pedagogy under the esteemed Bernard Hall and George Bell. At home however, she allowed herself to experiment, creating “exercises” she withheld from sale. These works, instinctive and marvellous, are bursts of modernity from the mid-twentieth century. \u003cbr\u003e\u003cbr\u003eOn a fellowship from the State Library of Victoria, playwright Monica Raszewski developed a play about Craig. The work ruminates on the division between public and private – what must be exhibited to the world, and what is privately felt. In this drawing of the 1980s, this tension lingers. The subject is domestic but the rendition electric. \u003cbr\u003e\u003cbr\u003eRepresented at the National Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia, State Library of Victoria and across regional galleries, Craig is a luminous yet under-observed figure of Australian modernism. She will enrich collections of important works on paper and female artists. \u003cbr\u003e\u003cbr\u003eIn this bewitching drawing lies a person and history deserving of our attention. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSybil CRAIG (1901 - 1989)\u003cbr\u003e'Fruit Bowl II' 1982\u003cbr\u003eInk on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 12 x 20 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 25 x 32 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed 'Sybil Craig' and dated upper right\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWork is mounted and wrapped. \u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40379749662790,"sku":"","price":225.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/craig-sybil-fruit-bowl-ii-13311.jpg?v=1666672035"},{"product_id":"craig-sybil-exhibition-centre-13312","title":"Sybil Craig 'Exhibition Centre' - Collected","description":"\u003cp\u003eArt historian Mary Eagle once described Australian modernist Sybil Craig as “devastatingly direct” and “almost overwhelmingly vital”. She was born a tomboy to affluent parents and in 1945, was the third woman ever to be appointed an official war artist, the first to paint women working in the munitions factories. \u003cbr\u003e\u003cbr\u003eAs an official war artist, she produced bright, vivacious scenes of women at work grounded in her pedagogy under the esteemed Bernard Hall and George Bell. At home however, she allowed herself to experiment, creating “exercises” she withheld from sale. These works, instinctive and marvellous, are bursts of modernity from the mid-twentieth century. \u003cbr\u003e\u003cbr\u003eOn a fellowship from the State Library of Victoria, playwright Monica Raszewski developed a play about Craig. The work ruminates on the division between public and private – what must be exhibited to the world, and what is privately felt. In this sketch of Melbournes iconic Exhibition Building, this tension lingers.\u003cbr\u003e\u003cbr\u003eRepresented at the National Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia, State Library of Victoria and across regional galleries, Craig is a luminous yet under-observed figure of Australian modernism. She will enrich collections of important works on paper and female artists. \u003cbr\u003e\u003cbr\u003eIn this bewitching drawing lies a person and history deserving of our attention. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSybil CRAIG (1901 - 1989)\u003cbr\u003e'Exhibition Centre' 1982\u003cbr\u003eInk on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 8 x 13 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 25 x 26 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed 'Sybil Craig' and dated on verso\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWork is mounted and wrap. \u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40379749793862,"sku":"","price":165.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/craig-sybil-exhibition-centre-13312.jpg?v=1666672039"},{"product_id":"craig-sybil-vase-of-flowers-i-13313","title":"Sybil Craig 'Vase of Flowers I'","description":"\u003cp\u003eArt historian Mary Eagle once described Australian modernist Sybil Craig as “devastatingly direct” and “almost overwhelmingly vital”. She was born a tomboy to affluent parents and in 1945, was the third woman ever to be appointed an official war artist, the first to paint women working in the munitions factories.\u003cbr\u003e\u003cbr\u003eAs an official war artist, she produced bright, vivacious scenes of women at work grounded in her pedagogy under the esteemed Bernard Hall and George Bell. At home however, she allowed herself to experiment, creating “exercises” she withheld from sale. These works, instinctive and marvellous, are bursts of modernity from the mid-twentieth century. \u003cbr\u003e\u003cbr\u003eOn a fellowship from the State Library of Victoria, playwright Monica Raszewski developed a play about Craig. The work ruminates on the division between public and private – what must be exhibited to the world, and what is privately felt. In this elegant yet frenzied study of a vase of flowers, this tension lingers. \u003cbr\u003e\u003cbr\u003eRepresented at the National Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia, State Library of Victoria and across regional galleries, Craig is a luminous yet under-observed figure of Australian modernism. She will enrich collections of important works on paper and female artists. \u003cbr\u003e\u003cbr\u003eIn this bewitching drawing lies a person and history deserving of our attention. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSybil CRAIG (1901 - 1989)\u003cbr\u003e'Vase of Flowers I' 1982\u003cbr\u003eInk on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 20 x 12 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 34 x 23 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed 'Sybil Craig' and dated in lower image\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eWork is mounted and wrapped. \u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40379749892166,"sku":"","price":195.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/craig-sybil-vase-of-flowers-i-13313.jpg?v=1666672043"},{"product_id":"craig-sybil-vase-of-flowers-ii-13314","title":"Sybil Craig 'Vase of Flowers II'","description":"\u003cp\u003eArt historian Mary Eagle once described Australian modernist Sybil Craig as “devastatingly direct” and “almost overwhelmingly vital”. She was born a tomboy to affluent parents and in 1945, was the third woman ever to be appointed an official war artist, the first to paint women working in the munitions factories.\u003cbr\u003e\u003cbr\u003eAs an official war artist, she produced bright, vivacious scenes of women at work grounded in her pedagogy under the esteemed Bernard Hall and George Bell. At home however, she allowed herself to experiment, creating “exercises” she withheld from sale. These works, instinctive and marvellous, are bursts of modernity from the mid-twentieth century. \u003cbr\u003e\u003cbr\u003eOn a fellowship from the State Library of Victoria, playwright Monica Raszewski developed a play about Craig. The work ruminates on the division between public and private – what must be exhibited to the world, and what is privately felt. In this elegant yet frenzied study of a vase of flowers, this tension lingers. \u003cbr\u003e\u003cbr\u003eRepresented at the National Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia, State Library of Victoria and across regional galleries, Craig is a luminous yet under-observed figure of Australian modernism. She will enrich collections of important works on paper and female artists. \u003cbr\u003e\u003cbr\u003eIn this bewitching drawing lies a person and history deserving of our attention. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSybil CRAIG (1901 - 1989)\u003cbr\u003e'Vase of Flowers II' 1982\u003cbr\u003eInk on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 20 x 12 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 34 x 23 cm\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003eWork is mounted and wrapped.\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40379749957702,"sku":"","price":150.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/craig-sybil-vase-of-flowers-ii-13314.jpg?v=1666672047"},{"product_id":"craig-sybil-empty-verandah-13315","title":"Sybil Craig 'Empty Verandah'","description":"\u003cp\u003eArt historian Mary Eagle once described Australian modernist Sybil Craig as “devastatingly direct” and “almost overwhelmingly vital”. She was born a tomboy to affluent parents and in 1945, was the third woman ever to be appointed an official war artist, the first to paint women working in the munitions factories. \u003cbr\u003e\u003cbr\u003eAs an official war artist, she produced bright, vivacious scenes of women at work grounded in her pedagogy under the esteemed Bernard Hall and George Bell. At home however, she allowed herself to experiment, creating “exercises” she withheld from sale. These works, instinctive and marvellous, are bursts of modernity from the mid-twentieth century. \u003cbr\u003e\u003cbr\u003eOn a fellowship from the State Library of Victoria, playwright Monica Raszewski developed a play about Craig. The work ruminates on the division between public and private – what must be exhibited to the world, and what is privately felt. In this work, Raszewskis thesis lingers. Craig draws a domestic subject matter (the home) in splotches of colour, dramatic and hallucinatory. \u003cbr\u003e\u003cbr\u003eRepresented at the National Gallery of Victoria, National Gallery of Australia, Art Gallery of South Australia, State Library of Victoria and across regional galleries, Craig is a luminous yet under-observed figure of Australian modernism. She will enrich collections of important works on paper and female artists. \u003cbr\u003e\u003cbr\u003eIn this bewitching drawing lies a person and history deserving of our attention. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/sybil-craig\" target=\"_blank\" rel=\"noopener\"\u003eSybil CRAIG\u003c\/a\u003e (1901 - 1989)\u003cbr\u003e'Empty Verandah' \u003cbr\u003eMixed media on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 34 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 30 x 48 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed 'Sybil Craig' lower left\u003cbr\u003e \u003cbr\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper. This work has been mounted and is ready to be framed.\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40379750056006,"sku":"","price":195.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/craig-sybil-empty-verandah-13315.jpg?v=1666672053"},{"product_id":"braund-dorothy-bathers-13339","title":"Dorothy Braund 'Bathers'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn ‘Bathers’ she paints a family on holiday. Grouped at the water’s edge, slightly hunched and shrouded under voluminous hats, Braund depiction is told with a wry smile. The great Australian pastime of hitting the beach is pared back to fleshy, warming boulders – anonymous land animals caught unawares. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy BRAUND (1926 - 2013)\u003cbr\u003e'Bathers' \u003cbr\u003eWatercolour on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 20 x 28 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 49 x 54 x 4 cm\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40399367438406,"sku":"","price":7500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-13339.jpg?v=1667878663"},{"product_id":"braund-dorothy-untitled-family-holi-13547","title":"Dorothy Braund 'Untitled (Family Holiday)'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this work, Braund captures a family at the beach. She is gently satirical and lightly experimental – bronzed legs, broad hats and warming shoulders. In 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others.\u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy BRAUND (1926 - 2013)\u003cbr\u003e'Untitled (Family Holiday)' 1993\u003cbr\u003earchival pigment print on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 52 x 70 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 75 x 92 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: facsimile signature lower right: Braund 93.\u003c\/p\u003e\n\u003cp\u003ePublished by the estate of the artist\u003c\/p\u003e\n\u003cp\u003eComes with a Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eCondition: Excellent \u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40421973590086,"sku":"","price":795.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-untitled-family-holi-13547.jpg?v=1669165852"},{"product_id":"braund-dorothy-bathers-iii-13275","title":"Dorothy Braund 'Bathers III'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this trio of bathers, Braund’s pays homage to the great Australian pastime of hitting the beach. Her rendition however, is gently satirical and lightly experimental. Pared back to warming boulders of flesh, her bathers look like baby chicks huddled under a lightbulb. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. Her use of colour, almost “savage in its brightness” delights and disorientates, like twirling across a dancefloor. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy BRAUND (1926 - 2013)\u003cbr\u003e'Bathers III'\u003cbr\u003egouache on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 11 x 18 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 35 x 40 x 5 cm \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40426486235206,"sku":"","price":2750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-iii-13275.jpg?v=1669506044"},{"product_id":"braund-dorothy-bathers-ii-13579","title":"Dorothy Braund 'Bathers II'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this trio of bathers, Braund’s pays homage to the great Australian pastime of hitting the beach. Her rendition however, is gently satirical and lightly experimental. Pared back to warming boulders of flesh, her bathers look like baby chicks huddled under a lightbulb. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. Her use of colour, almost “savage in its brightness” delights and disorientates, like twirling across a dancefloor. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/dorothy-braund\"\u003eDorothy BRAUND\u003c\/a\u003e (1926 - 2013)\u003cbr\u003e'Bathers II'\u003cbr\u003egouache on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 11 x 18 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 35 x 40 x 5 cm\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e \u003cbr\u003eCondition: Excellent\u003cbr\u003e \u003cbr\u003e(c) The Artist or Assignee\u003cbr\u003e\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40427815567430,"sku":"","price":2750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-ii-13579.jpg?v=1669684424"},{"product_id":"braund-dorothy-bathers-i-13580","title":"Dorothy Braund 'Bathers I'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this trio of bathers, Braund’s pays homage to the great Australian pastime of hitting the beach. Her rendition however, is gently satirical and lightly experimental. Pared back to warming boulders of flesh, her bathers look like baby chicks huddled under a lightbulb. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. Her use of colour, almost “savage in its brightness” delights and disorientates, like twirling across a dancefloor. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/dorothy-braund\"\u003eDorothy BRAUND\u003c\/a\u003e (1926 - 2013)\u003cbr\u003e'Bathers I'\u003cbr\u003egouache on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 11 x 18 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 35 x 40 x 5 cm\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The artist or assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40427819794502,"sku":"","price":2750.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-i-13580.jpg?v=1669685535"},{"product_id":"braund-dorothy-bathers-i-13273","title":"Dorothy Braund 'Bathers V'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this trio of bathers, Braund’s pays homage to the great Australian pastime of hitting the beach. Her rendition however, is gently satirical and lightly experimental. Pared back to warming boulders of flesh, her bathers look like baby chicks huddled under a lightbulb. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. Her use of colour, almost “savage in its brightness” delights and disorientates, like twirling across a dancefloor. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy BRAUND (1926 - 2013)\u003cbr\u003e'Bathers V' \u003cbr\u003ewatercolour on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 11 x 18 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 33 x 37 cm\u003c\/p\u003e\n\u003cp\u003eCondition: excellent\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":40454306136134,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-i-13273.jpg?v=1671766971"},{"product_id":"braund-dorothy-bathers-ii-13274","title":"Dorothy Braund 'Bathers IV'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this trio of bathers, Braund’s pays homage to the great Australian pastime of hitting the beach. Her rendition however, is gently satirical and lightly experimental. Pared back to warming boulders of flesh, her bathers look like baby chicks huddled under a lightbulb. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. Her use of colour, almost “savage in its brightness” delights and disorientates, like twirling across a dancefloor. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy BRAUND (1926 - 2013)\u003cbr\u003e'Bathers IV'\u003cbr\u003egouache on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 11 x 18 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 33 x 38 cm\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) Dorothy Braund \/ Copyright Agency 2024\u003c\/p\u003e","brand":"Art and Collectors","offers":[{"title":"Default Title","offer_id":40454306168902,"sku":null,"price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-ii-13274.jpg?v=1671766975"},{"product_id":"braund-dorothy-bathers-iv-13276","title":"Dorothy Braund 'Bathers VI'","description":"\u003cp\u003eAustralian modernist Dorothy Braund pursued simplicity. It, in her own words, “knocked” her out – “There’s no chance for accidental effects. If you are simple everything has to relate and work”. This preoccupation led her to compose images more musical than visual, hymns about people, places and activities. \u003cbr\u003e\u003cbr\u003eIn this trio of bathers, Braund’s pays homage to the great Australian pastime of hitting the beach. Her rendition however, is gently satirical and lightly experimental. Pared back to warming boulders of flesh, her bathers look like baby chicks huddled under a lightbulb. \u003cbr\u003e\u003cbr\u003eIn 1964, art critic Bernard Shaw described Braund’s work as lively, “linked with a shrewd and civilised eye for the bizarre and comical” – simple, does not always necessitate seriousness. In fact, by seeing the world as an orchestra of forms, Braund detected its notes of absurdity, vulnerability, warmth and beauty like few others. Her use of colour, almost “savage in its brightness” delights and disorientates, like twirling across a dancefloor. \u003cbr\u003e\u003cbr\u003eRepresented across state collections, Braund is an important part of Australian modernism. She was a member of George Bell’s School, the only woman to exhibit alongside Charles Blackman, Arthur Boyd and others in 1953 and as Shaw noted, “masterly in her own way”. For collectors of modern art and work by women, she is a must. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy BRAUND (1926 - 2013)\u003cbr\u003e'Bathers VI'\u003cbr\u003ewatercolour on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 11 x 18 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 33 x 38 cm \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40509489774662,"sku":"","price":2500.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/braund-dorothy-bathers-iv-13276.jpg?v=1676006050"},{"product_id":"thake-erik-the-wrong-horse-14325","title":"Eric Thake 'The Wrong Horse' - Collected by Carly","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘The Wrong Horse’ stems from an observation that made Thake laugh – the habit horses have of standing end to end. He first drew this design on a trip up North then, ten years later, converted it into a linocut. The work is a tragic idiom; like a literary satirist, Thake infuses a common sight with pathos and humour. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Australia, ‘The Wrong Horse’ is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'The Wrong Horse' 1955\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 20 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 40 cm\u003cbr\u003eOverall sheet sizes, scored to fold. \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, dated, and titled lower right: “The Wrong Horse” Eric Thake 1955\u003cbr\u003eInscribed reverse sheet, ink: To Ursula \/ with Best Wishes \/ for Xmas + 1956. \/ Eric and Grace Thake\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA52.1967\u003cbr\u003eArt Gallery of Western Australia, accession number: 1971\/0Q19\u003cbr\u003eNational Gallery of Victoria, accession number: P125-1974\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.15\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e \u003cbr\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594615205958,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-the-wrong-horse-14325.jpg?v=1684204604"},{"product_id":"thake-eric-nuns-on-the-geelong-14341","title":"Eric Thake 'Nuns on the Geelong Road…'","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original lino-cut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world.\u003cbr\u003e\u003cbr\u003e‘Nuns on the Geelong Road’ is among Thake’s best known linocuts. It is a delightful image – a car-full of nuns steam down Geelong road, black mounds but for a pair of eyes in the rearview mirror. Even nuns have places to be. Humorously, Thake writes “...or Oil Sheiks to Bahrein? The choice is yours” inside the card, setting up a visual pun for his recipient to solve. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, ‘Nuns on the Geelong Road’ is a museum-quality work. It speaks to Thake’s remarkable wit, Australian modernism and is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\" rel=\"noopener\" target=\"_blank\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Nuns on the Geelong Road…' 1969\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 21 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 42 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1969; titled lower left\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eRELATED IMPRESSIONS:\u003cbr\u003e- National Gallery of Victoria, accession number P139-1974\u003cbr\u003e- Art Gallery of New South Wales, accession number DA77.1970\u003cbr\u003e- National Gallery of Australia, accession number 73.257.30\u003c\/p\u003e\n\u003cp\u003eOverall sheet size \u003cspan\u003e15 x 42 cm,\u003c\/span\u003e scored to fold\u003cbr\u003eInscribed reverse sheet, pencil \"...or Oil Sheiks to Bahrein? \/ The choice is yours\"\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594615238726,"sku":"","price":4000.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-nuns-on-the-geelong-153201.jpg?v=1773118241"},{"product_id":"thake-erik-what-a-cow-14322","title":"Eric Thake 'What a Cow' - Collected by Julie","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. There are notes of humour, critique and poeticism. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eDated 1945, ‘What a Cow’ is a graphic mirage. Their shadows run down the page, recalling a tree’s spray of limbs or an open hand. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, this is a museum-quality work. It speaks to Thake’s remarkable wit and ingenuity, a prize for collectors of modernist, surrealist and Australian art. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'What a Cow' 1945\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 19 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 19 x 30 cm; Overall sheet size, scored to fold No inscription in card.\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, dated, and titled lower right: What a Cow Eric Thake 1945\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA54.1967\u003cbr\u003eNational Gallery of Victoria, accession number: 3716-4\u003cbr\u003eArt Gallery of South Australia, accession number: 5212G125\u003cbr\u003eArt Gallery of Western Australia, accession number: 1955\/0Q63\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.5\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent \u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594709413958,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-what-a-cow-14322.jpg?v=1684211615"},{"product_id":"thake-erik-mirage-people-alice-14323","title":"Eric Thake 'Mirage People, Alice Springs' - Collected by Yuka","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. There are notes of humour, critique and poeticism. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eDated 1946, ‘Mirage People, Alice Springs’ is a scene distilled from one of Thake’s intermittent trips into Australia’s centre. It is surreal, a constellation of blurry figures under the beating sun. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, this is a museum-quality work. It speaks to Thake’s remarkable wit and ingenuity, a prize for collectors of modernist, surrealist and Australian art. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Mirage People, Alice Springs' 1946\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 19 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 38 cm overall sheet size, scored to fold, no inscription in card.\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, dated, and titled lower right: “Mirage People, Alice Springs” Eric Thake 1946\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA51.1967\u003cbr\u003eNational Gallery of Victoria, accession number: P117-1974\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.6\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594709512262,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-mirage-people-alice-14323.jpg?v=1684211624"},{"product_id":"thake-eric-desert-island-14337","title":"Eric Thake 'Desert Island' - collected by Peter","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one of its most distinct voices. They also speak to Thake’s innerworld, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e\u003cem\u003eDesert Island \u003c\/em\u003epictures a figure reclining on a deserted beach, a butterfly resting on his foot. It is an image of holiday bliss, perhaps gleaned from one of Thake’s adventures through Australia. Like a mirage in heat, the more one gazes at \u003cem data-mce-fragment=\"1\"\u003eDesert Island \u003c\/em\u003ethe more it ripples – is that a face in the rock?\u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, \u003cem data-mce-fragment=\"1\"\u003eDesert Island\u003c\/em\u003e is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Desert Island' 1967\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 20 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 40 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1967; titled lower right. Inscribed reverse sheet, ink with: To Ursula \/ with Best Wishes \/ for Xmas + New Year \/ from Eric \u0026amp; Grace\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRELATED WORKS:\u003cbr\u003e- Art Gallery of New South Wales, accession number: DA1.1968\u003cbr\u003e- National Gallery of New South Wales, accession number: P137-1974\u003cbr\u003e- Art Gallery of New South Wales, accession number: 20062G7\u003cbr\u003e- National Gallery of Australia, accession number: 73.257.28\u003cbr\u003e- Castlemaine Art Museum, accession number: G1190\u003cbr\u003e\u003cbr\u003eCondition is \u003cstrong\u003eExcellent.\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594709610566,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-desert-island-14337.jpg?v=1684211630"},{"product_id":"thake-eric-heels-and-heeler-cha-14339","title":"Eric Thake 'Heels and Heeler, Charleville' - Collected by Julie","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘Heels and Heeler, Charleville’ is a beautifully rendered slice of life. Thake would intermittently travel into the Australian outback, capturing moments like this with perceptiveness, wit and warmth. Here, a blue heeler pools at the edge of a pub, his owner inside. Punnily titled, ‘Heels and Heeler’ smacks of rural Australian life – heat, beers and sheepdogs. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the Art Gallery of New South Wales, ‘Heels and Heeler, Charleville’ is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Heels and Heeler, Charleville' 1971\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 14 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 21 x 28 cm; overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1971; titled lower left. Inscribed reverse sheet, ink To Ursula \/ with Best Wishes \/ for Xmas + 1972 \/ Eric \u0026amp; Grace \u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: 5.1972\u003cbr\u003eNational Gallery of Victoria, accession number: P141-1974\u003cbr\u003eNational Gallery of Australia, accession number: 72.50\u003cbr\u003eArt Gallery of South Australia, accession number: 20062G6\u003cbr\u003eCastlemaine Art Museum, accession number: G518 \u003cbr\u003eBenalla Art Gallery, accession number: 1977.10\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTitle Heels and Heeler particularized with addition of , Charleville or , Longreach.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eInscribed reverse sheet , ink, lower right hand corner [U. Hoff?] 'answered'\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent \u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594710200390,"sku":"","price":660.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-heels-and-heeler-cha-14339.jpg?v=1684211642"},{"product_id":"thake-erik-strange-spectacle-14320","title":"Eric Thake 'Strange Spectacle' - Collected by Ian","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. There are notes of humour, critique and poeticism. \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eDated 1944, ‘Strange Spectacle’ transforms a twig into opera glasses. Like a literary satirist, Thake was interested in “an uncommon view of common things”, seeing debris like a twig as a deliciously surreal moment. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, this is a museum-quality work. It speaks to Thake’s remarkable wit and ingenuity, a prize for collectors of modernist, surrealist and Australian art. \u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Strange Spectacle' 1944\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 14 x 17 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 14 x 34 cm, overall sheer size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, dated and titled lower right: Strange Spectacle \/ Eric Thake 1944 \u003cbr\u003e(No inscription in card)\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA47.1967\u003cbr\u003eNational Gallery of Victoria, accession number: P116-1974\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.4\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594771673158,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-strange-spectacle-14320.jpg?v=1684215441"},{"product_id":"thake-erik-mr-picasso-gentlemen-14326","title":"Eric Thake 'Mr Picasso! Gentlemen, you won’t find him here' - Collected by Murray","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘Mr Picasso! Gentlemen, you won’t find him here’ is a send-up of the National Gallery of Victoria. In it, a cubist tribal sculpture and Picasso-esque harlequin ask a guard about modern art. It is inspired by the inquiries of overseas visitors to the gallery during the Melbourne Olympics. Like them, Thake was troubled by his country’s biggest gallery eschewing modern art. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including , graciously, at the National Gallery of Victoria, ‘Mr Picasso! Gentlemen, you won’t find him here’ is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Mr Picasso! Gentlemen, you won’t find him here' 1956\u003cbr\u003elinocut and letterpress on card\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 22 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 22 x 29 cm; overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1956; bears printed greetings of the festive season and signed ‘Audrey Gibson’ inside the card\u003cbr\u003ePrinted beneath signature: Part of an imaginary conversation in the shadow of FREMIETS \/ Jeanne dArc on the forecourt of the National Gallery of Victoria \/Original lino-cut by \/ ERIC THAKE of Melbourne. Printed reverse sheet inscribed: With \/ Christmas Greetings \/ and all Good Wishes \/ for the Coming Year \/ from \/ [Sally Robertson - in blue ink and underlined] \/ Xmas 1956, Merrow Lodge Hopetoun Road, Toorak\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCommissioned by Colonel Aubrey Gibson, a trustee of the National Gallery of Victoria\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA55.1967\u003cbr\u003eNational Gallery of Victoria, accession number: 1425-5\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAn impression of this work is illustrated in Colin Holden The Outsider: A Portrait of Ursula Hoff (Australian Scholarly Publishing, Melbourne: 2009), p. 28.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594771738694,"sku":"","price":1000.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-mr-picasso-gentlemen-14326.jpg?v=1684215447"},{"product_id":"thake-erik-shes-late-today-14330","title":"Eric Thake 'She's late today!' - Collected by Rita","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eDated 1958, this is a marvellous work. In it, a somewhat sheepish hippopotamus sidles into frame to meet a flock of efficacious birds, one announcing “She’s late today!”. It is a nod to the symbiotic relationship between hippos and birds, who in exchange for hitching a ride, clean the hippo’s back. With warmth and wit, Thake finds relatability across the animal kingdom. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Australia, ‘She’s late today!’ is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'She's late today!' 1958\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 22 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 44 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, dated, and titled lower right: “She’s late today!” Eric Thake 1958\u003cbr\u003e Inscribed reverse, ink: Ursula: We hope that \/ things will be managed \/ better in your kitchen \/ next Thursday. \/ Best Wishes \/ for Xmas 1958 \/ Eric \u0026amp; Grace\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are represented at the:\u003cbr\u003eNational Gallery of Victoria, accession number: P128-1974\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.18\u003cbr\u003eArt Gallery of New South Wales, accession number: DA49.1967\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40594771968070,"sku":"","price":1000.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-shes-late-today-14330.jpg?v=1684215456"},{"product_id":"thake-erik-horsham-sale-yards-s-14331","title":"Eric Thake 'Horsham Sale Yards: She’s a beautiful pig boys, all meat and no pertaters'","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s innerworld, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eDated 1960, ‘She’s a beautiful pig boys, all meat and no pertaters!’ is a comical image. An impressive pig takes centre stage, surrounded by silhouetted cowboys. She is a shy beast, unexpectedly demure against the hoots that surround her. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Australia, ‘She’s a beautiful pig boys, all meat and no pertaters!’ is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Horsham Sale Yards: She’s a beautiful pig boys, all meat and no pertaters' 1960\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 21 x 30 cm o\u003cspan\u003everall sheet size, scored to fold\u003c\/span\u003e\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1960. Titled lower centre. Inscribed within card: with To Ursula \/ with best wishes for Xmas \u0026amp; 1961 \/ Eric \u0026amp; Grace\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are represented at: \u003cbr\u003eArt Gallery of New South Wales, accession number: DA35.1967; \u003cbr\u003eNational Gallery of Australia, accession number: 73.257.21; and \u003cbr\u003eNational Gallery of Victoria, accession number: 1423-5. \u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40595696943174,"sku":"","price":1650.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-horsham-sale-yards-s-14331.jpg?v=1684302192"},{"product_id":"thake-erik-introduction-at-rch-14333","title":"Eric Thake 'Introduction at R.C.H. “Mr. Thake—Dr So \u0026 So… Dr… Dr… Dr…' - Collected by James","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eDated 1959, ‘Introduction at R.C.H. “Mr. Thake—Dr So \u0026amp; So… Dr… Dr… Dr…’ sees a crowd of doctors greet Thake. It is a moment observed from Thake’s time as a medical illustrator. Under the artist’s laconic hand, however, the scene turns humorous; to exchange pleasantries in surgery, Thake suggests, is akin to making small talk on Mars. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Australia, this work is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Introduction at R.C.H. “Mr. Thake—Dr So \u0026amp; So… Dr… Dr… Dr…' c.1959\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 14 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 21 x 28 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Titled lower centre; signed and dated 1960 with dedication inside. Inscribed within card in ink: To Ursula \/ with Best Wishes \/ for 1960. \/ Eric \u0026amp; Grace\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are represented at the:\u003cbr\u003eNational Gallery of Australia, accession number: P129-1974\u003cbr\u003eArt Gallery of Western Australia, accession number: 1971\/0Q20\u003cbr\u003eNational Gallery of Victoria, accession number: P129-1974\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40595697008710,"sku":"","price":1650.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-introduction-at-rch-14333.jpg?v=1684302199"},{"product_id":"thake-eric-ecstasy-14349","title":"Eric Thake 'Ecstasy' - Collected by Julie","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eDated 1956, ‘Ecstasy’ sees two sculptural figures dance until their arms break off. It is a humorous and rhythmically composed work. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, ‘Ecstasy’ is a museum-quality work. It speaks to Thake’s remarkable wit, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Ecstasy' 1956\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 22 x 13 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 22 x 26 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1956; titled lower left. Inscribed reverse sheet, ink To Ursula \u0026amp; Mrs Hoff \/ With Best Wishes \/ for Xmas + 1957 \/ from \/ Eric \u0026amp; Grace Thake. Inscribed reverse sheet bottom edge, ink Corrobboree [sic] in the vaults of Russell St.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA32.1967\u003cbr\u003eNational Gallery of Victoria, accession number: P126-1974\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40596391657542,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-ecstasy-14349.jpg?v=1684384856"},{"product_id":"thake-erik-a-message-from-our-s-14270","title":"Eric Thake 'A message from our sponsor' - Collected by James","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eAmong Thake’s most famous images, ‘A message from our sponsor’ is rich with visual puns. A nun in sunglasses takes a call beside a sign that reads “Hail cars here”, emphasis on the hail. Perhaps the ‘sponsor’ Thake cites is God himself, perhaps it is a car company. Is this a sign?\u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria and British Museum, ‘A message from our sponsor’ is a museum-quality work. It speaks to Thake’s remarkable wit, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'A message from our sponsor' 1975\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 22 x 14 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 29 x 22 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, dated, and titled in pencil in margin below image: ___ a message from Our Sponsor Eric Thake 1975. Inscribed reverse sheet, ink To Ursula \/ with Best Wishes \/ for whats left of 1976 \/ Eric Thake\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: 145.1976\u003cbr\u003eNational Gallery of Australia, accession number: 75.687\u003cbr\u003eCastlemaine Art Museum, accession number: G516\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40596428030022,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-a-message-from-our-s-14270.jpg?v=1684387128"},{"product_id":"thake-eric-when-in-kalgoorlie-d-14343","title":"Eric Thake 'When in Kalgoorlie… Dial-a-prayer!' - Collected by Tom","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eDated 1970, ‘When in Kalgoorlie… Dial-a-prayer!’ is a comical image. A silhouette leans into a phone booth, a bag of bottles at his feet. Laconic and charming, it speaks to the sparseness of the Australian outback, its laid back but watchful sensibility. So remote is Kalgoorlie, that calling in help is to throw a prayer into the cosmos. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, When in Kalgoorlie… Dial-a-prayer! is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'When in Kalgoorlie… Dial-a-prayer!' 1970\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 21 x 30 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1970; titled lower left.  Inscribed reverse sheet, ink: To Ursula \/ with Best Wishes \/ for Xmas + New Year 71 \/ from \/ Eric \u0026amp; Grace\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are represented at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: 14.1971\u003cbr\u003eNational Gallery of Victoria, accession number: P140-1974\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40596444840006,"sku":"","price":1650.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-when-in-kalgoorlie-d-14343.jpg?v=1684388169"},{"product_id":"thake-erik-the-itchy-owl-14316","title":"Eric Thake 'The Itchy Owl' - Collected by Ian","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. There are notes of humour, critique and poeticism. \u003cbr\u003e\u003cbr\u003eThe first card Thake sent, ‘The Itchy Owl’ (1941) is a graphic of an owl. It exemplifies the artist’s concision and sense of humour with his owl cocked wing suggestive of a scratch. As the Second World War persisted, wanted to gift his recipients a moment of comic relief. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, this is a museum-quality work. It speaks to Thake’s remarkable wit and ingenuity, a prize for collectors of modernist, surrealist and Australian art. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'The Itchy Owl' 1941\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 17 x 13 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 17 x 25 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 41; titled lower left: The Itchy Owl (No inscription in card.)\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.1\u003cbr\u003eNational Gallery of Victoria, accession number: P113-1974\u003cbr\u003eArt Gallery of New South Wales, accession number: DA39.1967\u003cbr\u003eMaitland Regional Art Gallery, NSW, accession number: 2007.178.a\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good. \u003c\/strong\u003eThere are a few marks across the lower section of the page and image. These seem to be stable marks and only one on the artwork's image, refer to photos. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40596444905542,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-the-itchy-owl-14316.jpg?v=1684388174"},{"product_id":"thake-eric-in-the-melbourne-gal-14348","title":"Eric Thake 'In the Melbourne Gallery “Epstein, Einstein? I can never remember!' - Collected by Murray","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s inner world, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘In the Melbourne Gallery “Epstein, Einstein? I can never remember!’ is a critique of the National Gallery of Victoria. In it, a visitor inspects a bust of Albert Einstein by British artist, Jacob Epstein, puzzled by who’s who – malapropism ensues. Thake was poking fun at the gallery’s seeming disinterest in modern art and ideas. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including, graciously, at the National Gallery of Victoria, ‘In the Melbourne Gallery’ is a museum-quality work. It speaks to Thake’s remarkable wit, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'In the Melbourne Gallery “Epstein, Einstein? I can never remember!' 1962\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 22 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 22 x 30 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1962; titled lower centre. Inscribed reverse sheet, ink To Ursula \/ with Best Wishes \/ for Xmas + 1963 \/ Eric \u0026amp; Grace. Inscribed reverse sheet vertically along fold, pencil EPSTEINS BUST of EINSTEIN\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.23\u003cbr\u003eNational Portrait Gallery of Australia, accession number: 2011.39\u003cbr\u003eNational Gallery of Victoria, accession number: P132-1974\u003cbr\u003eArt Gallery of Western Australia, accession number: 1971\/0Q16\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40596471152710,"sku":"","price":1500.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-in-the-melbourne-gal-14348.jpg?v=1684389648"},{"product_id":"thake-eric-airlines-resume-14353","title":"Eric Thake 'Airlines Resume' - Collected by Murray","description":"\u003cp\u003eFrom 1941, modernist Eric Thake began sending his friends hand-designed Christmas cards. By 1975, he moved from linocuts to offset lithographs, his eyesight beginning to fail. Sharply observed nonetheless, these cards still speak to Thake’s inner world and perspective on life, with this particular work sent to his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘Airlines Resume’ is hand-signed and inscribed to Hoff. It represents the last of Thake’s cards, picturing a line-up of women, perhaps air hostesses, waiting for their flight. In a way, Thake was waiting for his flight too, writing inside “Just a reminder that both I and the cards have reached the end of the line.” He died the following year, an inimitable legacy in his wake. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the Art Gallery of South Australia, ‘Airlines Resume’ is an accessible entry into Thake’s practice. It speaks to his remarkable wit, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Airlines Resume' 1980\u003cbr\u003eoffset lithograph on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 22 x 29 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 22 x 29 cm image and overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower left: Eric Thake 1980, inscribed with dedication to Dr Hoff verso. Inscribed reverse sheet, ink Dear Ursula \/ Just a reminder that \/ both I and the cards \/ have reached the end \/ of the line. \/ Best wishes for 81 \/ EricInscribed reverse sheet [by Ursula Hoff?] , pencil answer\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003eNational Gallery of Victoria, accession number: 2005.96\u003cbr\u003eArt Gallery of South Australia, accession number: 20172G41\u003cbr\u003e\u003cbr\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40596471251014,"sku":"","price":250.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-airlines-resume-14353.jpg?v=1684389653"},{"product_id":"thake-erik-comparisons-14328","title":"Eric Thake 'Comparisons' - Collected by Murray","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s innerworld, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘Comparisons’ is a comment on the art world. It pictures a gallery visitor looking at an Easter Island statue while a Melanesian figure admires the latest model Volkswagen. Cryptic but telling, ‘Comparison’ satirises both the museum and act of looking, urging us to consider what compels us to marvel at certain artefacts. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Australia, ‘Comparisons is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Comparisons' 1957\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 21 x 15 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 21 x 30 cm overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1957; titled lower left: “Comparisons”. Inscribed reverse sheet, ink: With Best Wishes \/ for Xmas + 1958 \/ Eric and Grace Thake\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eImpressions of this work are represented at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA33.1967; \u003cbr\u003eArt Gallery of Western Australia, accession number: 1971\/0Q19; and\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.17\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40599378952262,"sku":"","price":1000.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-comparisons-14328.jpg?v=1684564628"},{"product_id":"thake-eric-figure-in-a-rocky-la-14335","title":"Eric Thake 'Figure in a Rocky Landscape' - Collected","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s innerworld, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eDated 1965, ‘Figure in a Rocky Landscape’, is an optical illusion – is it a face or a mountain range, a figure or topographical folds? Thake was interested in shadows and silhouettes, the visual versions of double entendres. In this work, he gently makes light of the artist’s fixation with the female form, finding his own face in a rocky landscape. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Australia, ‘Figure in a Rocky Landscape’ is a museum-quality work. It speaks to Thake’s remarkable vision, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\" target=\"_blank\" rel=\"noopener\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Figure in a Rocky Landscape' 1965\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 21 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 42 cm; overall sheet size scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1965; titled lower centre. Inscribed reverse sheet, ink: To Ursula \/ with Best Wishes \/ for Xmas + 1966 \/ from Grace \u0026amp; Eric Thake\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eEXHIBITIONS:\u003cbr\u003eAcquisitions 1967, Art Gallery of New South Wales, Sydney, 6 March – 1 April 1968 (another impression)\u003cbr\u003eHand and Eye - A Survey of Artists' Materials and Techniques, Art Gallery of New South Wales Travelling Art Exhibition 1970 (another impression)\u003cbr\u003e\u003cbr\u003eLITERATURE:\u003cbr\u003eColsey, D., Hand and Eye - A Survey of Artists' Materials and Techniques, Art Gallery of New South Wales Travelling Art Exhibition 1970, Sydney, 1969, cat. no. 49 (illus., another impression)\u003cbr\u003e\u003cbr\u003eImpressions of this work are represented at the:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA48.1967\u003cbr\u003eNational Gallery of Australia, accession number: 72.214\u003cbr\u003eNational Gallery of Victoria, accession number: P135-1974\u003cbr\u003eNational Portrait Gallery, Canberra, accession number: 2011.42\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40599379017798,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-figure-in-a-rocky-la-14335.jpg?v=1684564636"},{"product_id":"thake-erik-then-wrought-a-tomb-14318","title":"Eric Thake 'Then wrought a tomb and slept' - Collected by Peter","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. There are notes of humour, critique and poeticism. \u003cbr\u003e\u003cbr\u003eThe second card Thake sent, ‘Then wrought a tomb and slept’ (1942) is wonderfully whimsical. He imagines a chrysalis as a coffin, turning the caterpillar into Dracula while nearby, another caterpillar in a basket recalls rock-a-by-baby. A master of the unexpected, Thake saw wit and surrealism in moments great and small. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the National Gallery of Victoria, this is a museum-quality work. It speaks to Thake’s remarkable wit and ingenuity, a prize for collectors of modernist, surrealist and Australian art. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Then wrought a tomb and slept' 1942\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 17 x 13 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 17 x 26 cm overall sheer size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1942; titled lower left: Then wrought a tomb and slept\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eImpressions of this work are at:\u003cbr\u003eArt Gallery of New South Wales, accession number: DA40.1967\u003cbr\u003eNational Gallery of Australia, accession number: 73.257.2\u003cbr\u003eNational Gallery of Victoria, accession number: P114-1974\u003c\/p\u003e\n\u003cp\u003eNo inscription in card.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40599379083334,"sku":"","price":1100.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-then-wrought-a-tomb-14318.jpg?v=1684564644"},{"product_id":"thake-eric-hippobottomi-14347","title":"Eric Thake 'Hippobottomi'","description":"\u003cp\u003eEvery year, modernist Eric Thake would send his friends a hand-made Christmas card. Original linocut prints, these cards have since become canonical, each observing a changing nation through one its most distinct voices. They also speak to Thake’s innerworld, with this particular work coming from the collection of his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003eThe punnily titled ‘Hippobottomi’ is a disarming portrait of three hippos. Thake captures them bottom-first, cocooned together like three pigs in a blanket. He was forever finding personalities in animals, capturing them with warmth and perceptiveness. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the Art Gallery of New South Wales, ‘Hippobottomi’ is a museum-quality work. It speaks to Thake’s remarkable wit, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'Hippobottomi' 1974\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 15 x 22 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 15 x 44 cm. Overall sheet size, scored to fold\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Titled, signed, and dated lower right: Hippobottomi eric Thake 1974. \u003cbr\u003eInscribed reverse sheet in ink \"To Ursula \/ With Best Wishes for Xmas \u0026amp; 1975 \/ from \/ Eric \u0026amp; Grace\"\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eEXHIBITIONS:\u003cbr\u003eAnimals on Paper: From The Australian Collection of Prints, Drawings and Watercolours, Art Gallery of New South Wales, Sydney, 5 September – 5 October 1992 (another impression)\u003cbr\u003e\u003cbr\u003eLITERATURE:\u003cbr\u003eKolenberg, H., Animals on Paper: From The Australian Collection of Prints, Drawings and Watercolours, Art Gallery of New South Wales, Sydney, 1992 cat. no. 86 (another impression)\u003cbr\u003e\u003cbr\u003eRELATED WORKS:\u003cbr\u003e- Eric Thake, Hippobottomi 1974, pencil on paper, 28 x 37.7cm, The Collection of the National Gallery of Australia, Canberra. A\u003cspan\u003eccession number 75.686 \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e- \u003c\/span\u003eArt Gallery of New South Wales, accession number 279.1976\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003eCondition: \u003cstrong\u003eExcellent: \u003c\/strong\u003e\u003c\/span\u003eThere is a slight fold of the top right corner, which has no impact on the image and has been smoothed. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40599379247174,"sku":"","price":2200.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-hippobottomi-14347.jpg?v=1684564650"},{"product_id":"thake-eric-tv-camel-of-lake-rud-14354","title":"Eric Thake 'TV camel of Lake Rudolf' - Collected by Julie","description":"\u003cp\u003eFrom 1941, modernist Eric Thake began sending his friends hand-designed Christmas cards. By 1975, he moved from lino-cuts to offset lithographs, his eyesight beginning to fail. Sharply observed nonetheless, these cards still speak to Thake’s innerworld and perspective on life, with this particular work sent to his friend, revered writer and curator Ursula Hoff. \u003cbr\u003e\u003cbr\u003e‘TV camel of Lake Rudolf’ is hand-signed and inscribed to Hoff. It humorously envisions a camel smiling into the camera, us. Inside, Thake writes “If the smiling stranger says he’ll “just have a couple” be sure it is glasses \u0026amp; not gallons.” A lesson for all us confronted by a charismatic camel. \u003cbr\u003e\u003cbr\u003eRepresented across numerous public collections, including at the Art Gallery of South Australia, ‘TV camel of Lake Rudolf’ is an accessible entry into Thake’s practice. It speaks to his remarkable wit, Australian modernism and the friendship between an artist and scholar. With strikingly excellent provenance, it is a prize for collectors of modernist art. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEric THAKE (1904 - 1982)\u003cbr\u003e'TV camel of Lake Rudolf' 1977\u003cbr\u003eoffset lithograph on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 22 x 28 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 22 x 28 cm - ov\u003cspan\u003eerall sheet size, scored to fold\u003c\/span\u003e\u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed and dated lower right: Eric Thake 1977; inscribed with dedication to Dr Hoff verso.\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003c\/p\u003e\n\u003cp\u003eNational Gallery of Victoria, accession number: 2010.58\u003c\/p\u003e\n\u003cp\u003eNational Gallery of South Australia, accession number: 20172G37\u003c\/p\u003e\n\u003cp\u003eMaitland Regional Art Gallery, accession number: 2007.178.s\u003c\/p\u003e\n\u003cp\u003eInscribed reverse sheet, ink To Ursula + Mother \/ with Best Wishes \/ for Xmas + 1978 \/ If the smiling stranger says hell just have a couple \/ be sure it is glasses + \/ not gallows. \/ Eric ThakeInscribed reverse sheet upper right [by Ursula Hoff?], ink answer\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c)The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":40599379279942,"sku":"","price":275.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/products\/thake-eric-tv-camel-of-lake-rud-14354.jpg?v=1684564653"},{"product_id":"macnab-iain-nude-15420","title":"Iain Macnab 'Nude' - collected by Ian","description":"\u003cp\u003eThough Iain Macnab worked as a prolific printmaker and painter throughout his life, perhaps his most significant achievement was founding the radical Grosvenor School of Modern Art in London in 1925. Many significant printmakers studied under Macnab during the interwar period — among them a cohort of Australian artists including Peter Purves Smith, an early proponent of Surrealism in Australia, as well as major female printmakers Dorrit Black, Ethel Spowers, and Eveline Syme, and the modernist George Bell. \u003cbr\u003e\u003cbr\u003eMacnab’s classes were taught from his own house, bringing together creatives working in wood engraving, modern dance and traditional art. Under his guidance, a generation of artists drastically transformed their style, finding a groundbreaking new visual language made up of dynamic, modern forms. Many would bring their revelations back to Australia to inspire the following generation. \u003cbr\u003e\u003cbr\u003eIn this lithograph, Macnab figures an athletic female nude, arranged vertically with a weightlessness that seems more machine than human. The human form is reduced down to a finely arranged sequence of bold strokes that echo Futurist sculptures of the early twentieth century, as well as the Art Deco forms that dominated avant garde design during the 1920s. Art critic Christopher Heathcote described this “impressive lithograph” as one of one of the visual highpoints during its inclusion in an exhibition at Eastgate Gallery in 1991. In Macnab’s rendering, the most traditional of genres - the female nude - is transformed into a dynamic representation of modernity.\u003cbr\u003e\u003cbr\u003eIain Macnab’s experimental approach to composition was hugely influential during his life. Today his work is represented in the collections of the National Galleries in Scotland, London’s V\u0026amp;A Museum, and the National Gallery of Victoria among others.\u003cbr\u003e\u003cbr\u003eMacnab’s lithographs rarely appear on the market, and this work is in excellent condition. ‘Nude’ would suit collectors interested in figure studies, modernism, or the George Bell circle of artists. It would also be a welcome addition on the walls of both contemporary and period homes.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/iain-macnab\"\u003eIain MACNAB\u003c\/a\u003e (1890 - 1967)\u003cbr\u003e'Nude' 1930s\u003cbr\u003elithograph on paper\u003cbr\u003eEdition of 50\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 48 x 24 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 79 x 59 x 4 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Signed, numbered and inscribed lower right in pencil: 23\/50\/To my friend Cathy Bell\/Iain MacNab\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEXHIBTIONS:\u003cbr\u003eWorks on Paper, Eastgate Gallery Melbourne 1991\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition is \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41297837555782,"sku":null,"price":1250.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/macnab-iain-nude-15420.jpg?v=1711758734"},{"product_id":"thake-eric-the-habitat-of-the-d-15677","title":"Eric Thake 'The Habitat of the Dodo' - Collected by Yuka","description":"\u003cp\u003eOriginally created as Christmas cards for his loved ones, Eric Thake’s linocut prints soon drew attention beyond his mailing list. He decided to pull additional limited editions of each design, allowing his fellow Australians to collect them. Each work observed a changing nation infused with the artist’s unique sense of humour, critique and poeticism, appealing to institutions and individuals alike. \u003c\/p\u003e\n\u003cp\u003eDated 1943, ‘The Habitat of the Dodo’ sees a dodo gaze into its museum enclosure. It is a gentle satire of museums, the word “habitat” – typically reserved for the living – turned on its head. Are museums zoos for the extinct? What draws visitors to stare at fabrications of nature, stuffed dodos in make-believe wilderness? \u003c\/p\u003e\n\u003cp\u003eRepresented across numerous public collections, including at the National Gallery of Australia, ‘The Habitat of the Dodo’ is a museum-quality work. It speaks to Thake’s remarkable wit and ingenuity, a prize for collectors of modernist, surrealist and Australian art. \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'The Habitat of the Dodo' 1943\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 16 x 17 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 29 x 24 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Titled lower left. Signed and dated lower right: Eric Thake 1943.\u003cbr\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the:\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eArt Gallery of South Australia, accession number: 775G20;\u003cbr\u003eand National Gallery of Australia, accession number: 73.257.3.\u003c\/p\u003e\n\u003cp\u003eCondition is \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41776902766662,"sku":null,"price":1500.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-the-habitat-of-the-d-15677.jpg?v=1717221461"},{"product_id":"thake-eric-bookplate-for-george-15755","title":"Eric Thake 'Bookplate for George ‘Ted’ Mayman'","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for George ‘Ted’ Mayman' \u003cbr\u003ewoodblock on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 8 x 7 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 8 x 7 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eAn impressions of this work is at the Art Gallery of Ballarat, accession number: 1981.147.a-b.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839812313158,"sku":null,"price":195.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-george-15755.jpg?v=1718330427"},{"product_id":"thake-eric-bookplate-for-alexan-15751","title":"Eric Thake 'Bookplate for Alexander Robert Turnbull' - Collected","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for Alexander Robert Turnbull' Between 1941 and 1943\u003cbr\u003ewoodblock on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 7 x 5 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 7 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the: National Gallery of Victoria, accession number P39-1973; and the Art Gallery of South Australia, accession number 495G97.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839812608070,"sku":null,"price":175.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-alexan-15751.jpg?v=1718330434"},{"product_id":"thake-eric-bookplate-for-alison-15752","title":"Eric Thake 'Bookplate for Alison Uther Boyes'","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for Alison Uther Boyes' 1934\u003cbr\u003ewoodblock on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 7 x 7 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 7 x 7 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eAn impression of this work is at the National Gallery of Victoria, accession number P37-1973.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839812706374,"sku":null,"price":125.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-alison-15752.jpg?v=1718330438"},{"product_id":"thake-eric-bookplate-for-john-g-15753","title":"Eric Thake 'Bookplate for John Gartner' - Collected by Amy","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for John Gartner' Between 1941 and 1943\u003cbr\u003ewoodblock on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 8 x 7 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 8 x 7 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at: the National Gallery of Australia, accession number 73.258.7; the National Gallery of Victoria, accession number P33-1973; and the Art Gallery of South Australia, accession number, 495G100.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839812771910,"sku":null,"price":175.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-john-g-15753.jpg?v=1718330441"},{"product_id":"thake-eric-bookplate-for-doroth-15754","title":"Eric Thake 'Bookplate for Dorothy Dennett' - collected","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for Dorothy Dennett' \u003cbr\u003ewoodblock on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 7 x 6 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 7 x 6 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eAn impression of this work is at the National Gallery of Victoria, accession number P38-1973.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eVery Good:\u003c\/strong\u003e Describes a work of art's image as Excellent, but may show some small signs of surrounding wear to paper or frame. There are no tears to paper margin or disruption to the paint surface.\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839812870214,"sku":null,"price":175.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-doroth-15754.jpg?v=1718330445"},{"product_id":"thake-eric-bookplate-for-eric-j-15756","title":"Eric Thake 'Bookplate for Eric Johnston'","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for Eric Johnston' 1929\u003cbr\u003emetal cut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 7 x 5 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 7 x 5 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the; National Gallery of Australia, accession numbers: 73.258.5 and 84.1415.7; National Gallery of Victoria, accession number: P42-1973; and Art Gallery of South Australia, accession number: 495G101.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839812935750,"sku":null,"price":95.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-eric-j-15756.jpg?v=1718330448"},{"product_id":"thake-eric-bookplate-for-sydney-15757","title":"Eric Thake 'Bookplate for Sydney Hagley'","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for Sydney Hagley' 1929\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 7 x 8 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 7 x 8 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the; National Gallery of Australia, accession numbers: 73.258.1; and the National Gallery of Victoria, accession number: P44-1973.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839813066822,"sku":null,"price":175.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-sydney-15757.jpg?v=1718330451"},{"product_id":"thake-eric-bookplate-for-eric-t-15758","title":"Eric Thake 'Bookplate for Eric Thake'","description":"\u003cp\u003eThe popular practice of labelling and adorning one’s beloved books with bookplates has almost been lost to history. In the early 20th century, members of the Australian Ex Libris Society would assign iconic artists with the task of creating personal tags that could be fixed onto the inside cover or first pages of their books. \u003cbr\u003e\u003cbr\u003eEric Thake, known for his bold printmaking and distinct ability to sympathise with humanity through his images, was a popular choice for Australian bibliophiles. A member of the Ex Libris Society himself, the artist shared a love for literature that inspired great care when producing bookplates for his fellow members. He would draw a strong Soviet woman for the pioneering female politician, a Bower bird for the avid collector or a studious monk for the historian. \u003cbr\u003e\u003cbr\u003eThake was known to sketch whenever an idea presented itself and in this urgency, was happy to mark whatever paper was handy, including blank pages in library books. Creating bookplates was therefore a natural progression for the artist. These highly collectable bookplates, found in state and national institutions alike, are a rare find for bibliophiles or collectors with an interest in Australian printmaking of the interwar period.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/artandcollectors.com\/collections\/eric-thake\"\u003eEric THAKE\u003c\/a\u003e (1904 - 1982)\u003cbr\u003e'Bookplate for Eric Thake' Between 1927 and 1943\u003cbr\u003elinocut on paper\u003cbr\u003e\u003ci\u003eImage Size\u003c\/i\u003e: 8 x 6 cm \u003cbr\u003e\u003ci\u003eDimensions\u003c\/i\u003e: 8 x 6 cm \u003cbr\u003e\u003ci\u003eSigned\u003c\/i\u003e: Unsigned\u003c\/p\u003e\n\u003cp\u003eComes with Letter of Provenance\u003c\/p\u003e\n\u003cp\u003eImpressions of this work are at the; National Gallery of Australia, accession numbers: 73.258.3 and 84.1415.2; National Gallery of Victoria, accession number: P40-1973; Art Gallery of South Australia, accession number: 495G99; and the Castlemaine Art Museum, accession number: G658.\u003c\/p\u003e\n\u003cp\u003eCondition: \u003cstrong\u003eExcellent\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e(c) The Artist or Assignee\u003c\/p\u003e","brand":"Art \u0026 Collectors","offers":[{"title":"Default Title","offer_id":41839813230662,"sku":null,"price":295.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/files\/thake-eric-bookplate-for-eric-t-15758.jpg?v=1718330455"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0499\/8229\/collections\/braund-dorothy-dirty-dishes-13340_a83d6611-a769-4e16-b486-7b7f7b1276ca.jpg?v=1687415781","url":"https:\/\/artandcollectors.com\/collections\/the-george-bell-circle.oembed?page=5","provider":"Art and Collectors","version":"1.0","type":"link"}