Lot 68
  • 68

TOM ROBERTS

Estimate
60,000 - 80,000 AUD
Log in to view results
bidding is closed

Description

  • Tom Roberts
  • ON THE BANKS OF THE RIVER AT HEIDELBERG
  • Signed lower left; a portrait study on the reverse, possibly a self-portrait
  • Oil on board

  • 30.5 by 25.5cm

Provenance

Dr. Norman Behan, Brisbane
Joseph Brown Gallery, Melbourne, 1971
Private collection, Melbourne; purchased from the above

Exhibited

Winter Exhibition 1971, Joseph Brown Gallery, Melbourne, 1971, cat. 11, illus. as 'On the Banks of the Yarra at Heidelberg'

Literature

Topliss, H., Tom Roberts 1856-1931, a catalogue raisonne, Oxford University Press, Melbourne, 1985, cat. 135, vol. I, p. 110, vol. II, illus. pl. 62 as 'Untitled River landscape'

Condition

Good condition. UV inspection reveal retouching to upper centre edges of tree and centre of tree.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Roberts's biographer, Helen Topliss, suggests that the trees in this quiet, romantic painting are sheoaks (Casuarina). Certainly the scene evokes the environs of the Eaglemont artists' camp, by the Yarra at Heidelberg, where Roberts spent most of his summers from 1888 to 1890. Arthur Streeton had first discovered the old homestead at Eaglemont where he and Roberts and Charles Conder 'camped' and as many as sixty artists and students sometimes visited at weekends. Streeton later recalled it in a letter to Roberts: 'I thought of our Heidelberg times the other day. The brilliant clear blue mornings with the faint Dandenongs, the round she oaks... & Oleander & Japonica & Pine Cones scattering on the dewy grass... & the thick small cypruss trees near the Tennis Court...- & the Fair Open hilltop where K.[Conder] did his "Evening Star" & the row of Hazels and Pear trees. Pines round the Well & Bill Peg fishing & the... shortcut to Ivanhoe; and the long warm afternoons of coppery light'.1 'The water is rendered with broad touches of brown and blue... On the reverse he began a portrait that has touches of pigment on it that match the landscape on the recto... [T]he remaining touches in the sky and the detail brought back with a brush end on the trees suggest an earlier rather than a later date. The full-face portrait on the verso would also concur with an earlier date'.2

1. Letter from Streeton to Roberts, 7 August 1908; in Galbally, A. and Gray, A., Letters from Smike, the Letters of Arthur Streeton 1890-1943, Oxford University Press, Melbourne, 1989, p. 113.
2. Helen Topliss, Tom Roberts 1856-1931: a catalogue raisonne, Oxford University Press, Melbourne, 1985, vol. I, p. 110.