Conrad Martens
WORKS IN OIL
Catalogue of Works
Compiled by Michael Organ
Thirty Victoria Street
1989
1
Contents
Introduction
Conrad Martens & Oil Painting
Guide to the Catalogue
1 Field Descriptions 2 Codes
Index to Catalogue
Catalogue of Works
Appendices
1 Attribution of Conrad Martens Portraits 2 Cave Paintings 3 Southern Tableland Views 4 References to Oil Paintings (1837‐1979)
Bibliography
2
Introduction
This catalogue aims to identify all works executed in oil (and associated media such as body colour and gauche) by Conrad Martens during his career as an artist, and validate them with those noted in his manuscript ‘Account of Pictures painted at Sydney, N.S.Wales [1835‐78]’ (Dixson Library MS142 & MS143), or any of his other records such as letters, diaries, and notes on painting. Also included are portraits in oil of Martens by artists such as Maurice Felton and Mr Nuyts. Martens’ ‘Account of Pictures’ provides an invaluable source for identifying his more than 100 extant works in oil. Though ‘Account of Pictures’ specifically identifies only 35 oil paintings, many others noted ‐ but not identified ‐ therein as oils, can be matched with known works. ‘Account of Pictures’ identifies the following 35 oil paintings:
Title Date
Bota Fogo, Rio Janiero 20 March 1838 Brush at Illawarra 26 May 1838 Oropena, Tahiti 31 May 1838 Salcombe Castle 2 May 1839 Govets Leap 23 May 1839 View of New Government House 28 Oct. 1841 Sydney from St Leonards 14 Nov. 1841 View from Rose Bay 30 Nov. 1841 View of Old Government House 21 Jany. 1842 Government Stables 31 Jany. 1842 Small view of part of Govt. Stables 10 April 1842 View from my window 26 Sept. 1842 Double Bay 22 March 1847 Brush Scene, Brisbane Water 4 July 1848 Fort Street and N.Shore from Flagstaff Hill 4 July 1848 View of Sydney from St. Leonards 14 Feby. 1851 Burns Inn, out door 4 March 1851 The Black Eagle 7 August 1852 Scene near the Weatherboard Inn 31 Jany. 1853 Sydney from Robinsons Point 22 April 1853 Coochin Run 31 May 1853 Glen. Franklin Vale 8 Nov. 1853 The Harbour from Millars Corner 29 April 1854 The Castaway 1 May 1855 View of Sydney 25 June 1855 St Pauls 28 May 1857 The Huntsman 17 Decr. 1857 View of Coolangatta 23 June 1860 Musipula 3 May 1861 Tilligerry 13 March 1869 Above Balmoral (sketch) 28 May 1878 Sydney from Silica 28 May 1878 Funchal (sketch) 25 June 1878 Coolangatta (sketch) 25 June 1878 The Antiquary 20 July 1878
Whilst many of the above paintings have been identified with extant works, others are still missing ‐ all are, however, included in the following catalogue raisonne. It should be pointed out that it is still unclear whether each individual entry in ‘Account of Pictures’ represents a commission, or a sale, or both. Therefore, whilst Martens may record a commission for a work in oil (as in the above 35 instances), the resultant painting delivered to the customer may have been a watercolour ‐ if the artist thought it a better work ‐ or an oil. This problem is further 3 exacerbated by the fact that Martens produced multiple copies of individual subjects over a number of years, both to experiment with technique and to satisfy his many patrons. It appears that Conrad Martens began painting in oils in Australia early in 1838, and the period 1839‐42 was his most productive in that media ‐ producing a large number of oils to satisfy his local and overseas patrons. Even though not indicated in ‘Account of Pictures’, a great many of the artist’s extant but un‐dated works in oil have been attributed to this period by the author. Perhaps he was working so often in oil after May 1839 that he discontinued specifically identifying them as such in his ‘Account of Pictures’. Martens continued to work in oil throughout the remainder of his life, though he concentrated on watercolours during his final years. A separate group of Martens’ oil paintings are those which are not identified in any form in ‘Account of Pictures’ (e.g. Rockleigh Grange, c1850) and are supposedly part of the artist’s personal collection. They were most likely painted for members of his family and friends, both in Australia and England, with no intention of being offered for sale ‐ he is known to have sent a number of works to his brother Henry, in England. The dating of these works is problematic, and is usually based on comparison of style with dated works, or information gleaned from extraneous manuscript information and original pencil sketches. An attempt has nevertheless been made to date all works in the Catalogue.
Conrad Martens & Oil Painting
Conrad Martens was primarily a watercolourist, without doubt most at ease and proficient as an artist in that medium. However he also considered himself somewhat of a ‘drawing master’ (as Charles Darwin noted in 1834), and as such was willing and eager to experiment with all forms of art, from sketching and painting, through to lithography and engraving, sculpturing, wood carving, and painting in oils. Whether Martens enjoyed working in oils, or saw it as a necessary task for a professional artist with a young family to support, is not clear. Without doubt his many local and overseas patrons would have called for works in this media as part of their commissions. Many contemporary and later commentators have criticised Martens’ oils, calling them turgid, inferior to his watercolours, and, as one critic noted in 1847. His oil paintings are remarkable for the want of that strength and depth of tone ‐ of that power in short which it is the property of oil colours to give. They are pure and clear in colouring and tone, but they look like water colour drawings. Perhaps the watercolourist in Martens was too deeply etched within his psyche to break away from its techniques when painting in oil ‐ It is a rare artist who can work successfully in both media. However amongst his ‘turgid’ works are many gems and his oils after 1851, when he worked with the English artist Marshall Claxton and picked up a few hints in oil‐colour technique, are decidedly of a lighter air, though fewer in number.
Martens’ earliest authenticated works in oil date from 1838, though he probably experimented with oil previous to this whilst a student in England between 1828‐33. During the four years following 1838 he laboured prodigiously in the medium, producing major paintings for patrons such as Governor Sir George Gipps, Hannibal Hawkins Macarthur, and the Carter’s. These works proved to be very profitable for the artist ‐ paintings of 18 x 26" selling for an average of 15 guineas each ‐ and enabled him to build his house, Rockleigh Grange, on five acres of land at St Leonards, on Sydney’s north shore. Unfortunately, by 1842 economic gloom and depression had hit the Colony and many of Martens patrons were facing financial ruin. In such an atmosphere investment in the arts was severely curtailed, and with the downturn in business we see the number of oils produced by the artist reduced to only a few per year. Whilst he continued to produce works in oil sporadically for the remainder of his life ‐ selling them for up to 30 guineas each ‐ his major emphasis was on improving his skills in watercolour. His works in that medium show continued refinement and improvement right up until his final years (he died in 1878). After working with Marshall Claxton in 1851, Martens’ oils become lighter and approach the quality of his watercolours. If Martens had not been such a superb watercolourist, producing works capturing the light and atmosphere of Sydney Harbour unlike any artist before him, perhaps we would look better upon on his oils, however in the eyes of this author and many others they will always remain in the shadow of these works ‐ mere ‘watercolours in oil’. Perhaps this catalogue will lead to a reappraisal of his oils.
4
Guide to the Catalogue
Within this catalogue the following format is used to describe each individual work, consisting of 17 descriptive fields:
Fields Example
No. 61
Title View of Sydney Harbour
Date 1850
Medium Oil on canvas
Dimensions 47 x 66cm (18 1/2 x 26in)
Library No. NK4484
Subject Group ‐
Dated ‘1850’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed ‘Sydney from St. Leonards, Novr. 1850’ on label on verso.
Collection National Library of Australia, Nan Kivell Collection
Publication
Reproduced A Catalogue of Oil Paintings in the Pictorial Collection of the National Library of Australia, Canberra, 1988, p83, b/w.
Reviews
Exhibition
Provenance
Notes
Each of these fields contains specific information regarding the paintings.
5
Description of Fields
The information given in each of these seventeen fields is described as follows:
No. ‐ Reference number ‐ refers to this catalogue only. The works are arranged roughly chronologically, therefore the smaller the number the earlier the work.
Title ‐ The title allocated is the one which, to the best of the authors’ knowledge, was originally ascribed by Martens and noted in his ‘Account of Pictures’ between 1835‐78. If reference cannot be found within the account book, the most correct, descriptive title will be used. Over the intervening years many new and different titles have been given to his works. These titles come from a variety of sources; they may disregard providential information; and are often erroneous. They are rarely those which were given by the artist upon point of sale and as recorded by him in his account books, diaries and letters. Fortunately, using this manuscript material ‐ especially his ‘Account of Pictures’ ‐ and Martens’ numerous preliminary pencil sketches, we can allocate the original titles to many of the extant works. For example:
‘Australian landscape with cattle and stockman at a creek’ from the Joseph Brown Collection, is herein titled ‘Ford of the Wollondilly, 1839’ as noted in ‘Account of Pictures’ on 25 June 1839 and sold to Hannibal Hawkins McArthur. ‘Landscape’, Mitchell Library (ML107), is actually ‘Gibraltar Rocks, 1839’, also sold to Hannibal McArthur. ‘From Mount Tomah, Blue Mountains, N.S.W.’ is given the title ‘Illawarra Lake, 1843’. ‘Wombeyan Caves’, Dixson Gallery (DG163), is herein titled ‘Interior of Burrangalong Cavern, Abercrombie River, N.S.W.’
The list goes on, for almost all of Martens’ surviving works in oil may be allocated new titles according to those mentioned in the Account Books. Titles allocated by the authors, which however may vary from those currently used, are denoted in square brackets thus: [Title]. The more recent titles are also given alongside. Where the authors are unsure about allocating a title, a question mark is given thus: [?Title].
Date ‐ Paintings are arranged in this catalogue according to the year of their completion. The works are dated in a number of ways:
According to the date painted or inscribed upon the work by the artist ‐ this date may refer to the time the work was executed, or the time of Martens’ visit to the locality.
As determined by this author, based on information gleaned from Martens’ account books and other manuscript sources, including preliminary pencil sketches.
Martens’ oil paintings of Tahiti, South America and New Zealand give rise to a number of difficulties in dating. For example, ‘The Bay of Islands, New Zealand’ is dated ‘1835’ in paint upon the canvas by Martens, according to the actual time when he was at that place, however the painting was almost certainly executed during 1840‐1, according to style and information contained in his account books. Therefore three types of dates are given in the ‘Date’ field:
1. 1839 As given by Martens, and inscribed upon the work. 2. [1839] As determined by this author, with a large degree of certainty, based on manuscript and provenance information. 3. [c.1839] As determined by this author, based on style and other information, but being only an approximate guess.
In some instances it has proven impossible to date a work, in which case the standard ‘n.d.’ will be given. The ‘Dated’ field described below refers to any date information inscribed upon the work.
Medium ‐ Works are usually in oil alone, however in some instances materials such as watercolour, body colour, gouache and pencil are also evident. Reference is also given to the material upon which the work is executed, such as canvas, teakwood, or cardboard. 6
Dimensions ‐ Both metric and imperial dimensions are given. Height proceeds width. In Martens’ original account books, and some pre‐1960 auction sales catalogues and publications, the dimensions were reversed, giving width followed by height. Where the work has been identified, these dimensions have been reversed within this catalogue.
Library No. ‐ Refers to the collection catalogue number, such as ML198 for the Mitchell Library.
Subject Group ‐ Into this field relevant indexing terms are allotted for use in searching upon the computer database.
Dated ‐ Refers to any specific date appearing upon the work or inscribed upon verso by the artist.
Signed ‐ Refers to the artist’s signature upon the work or verso, usually in the form ‘C.Martens’.
Inscribed ‐ Refers to any inscription upon the work, or within an original label on verso.
Collection ‐ The present location of the work, e.g. Mitchell Library, National Library of Australia, Alan Bond Collection, etc.
Publication ‐ Any published or manuscript work which may refer to the painting, subjects contained therein, or the purchaser and subsequent owners of the work.
Reproduced ‐ Any publication in which the work is reproduced. This may be in colour, black & white (b/w), complete, or only a detail.
Reviews ‐ Quotes from relevant reviews of the work will be given. Both contemporary and recent reviews are included.
Exhibition ‐ Details of exhibitions in which the work was shown are listed chronologically. Information given includes date of exhibition, catalogue number, provenance, title as given at the exhibition (if it varies with the current or determined title), and catalogue details if known.
Provenance ‐ Provenances have been listed in chronological order beginning with the first known owner. Details of owners of the works, plus any auction or gallery sales in which the work changed hands, are given. Sale prices are also included.
Notes ‐ Any relevant descriptive information may be included here, including references to original pencil sketches and copies in watercolour etc. Biographical details of original purchasers, plus the subject of the work will also be given.
Within the catalogue the following codes will be used:
Codes
AFR Australian Financial Review AGNSW Art Gallery of New South Wales DG Dixson Gallery DL Dixson Library l.l. lower left l.r. lower right ML Mitchell Library NLA National Library of Australia
7
Conrad Martens
List of known works in oil
1 The Bay of Islands, New Zealand in 1835 [1841]
2 Australian Landscape with cattle and stockman at a creek [Ford of the Wollondilly] 1839
3 Mountainous Landscape / The Explorer [Hume’s Crags on the Gloucester ‐ figure shooting] [1861]
4 Sydney Harbour from Vaucluse 1840
5 View of Darlinghurst, Woolloomooloo Bay on the left [View from Rosebank] [1840]
6 Lansdowne Bridge 1843
7 View above Rushcutters Bay August 1846
8 Valley of the Grose [Govett’s Leap] [1839]
9 From Mount Tomah, Blue Mountains, N.S.W. [Illawarra Lake] 1843
10 Coolangatta Mountain 1860
11 Landscape [Gibraltar Rocks] 1839
12 A Harbour, possibly Pittwater 1835
13 H.M.S. Beagle off Mount Sarmiento, Tierra Del Fuego, in 1834 [1838]
14 Rushcutters Bay, Sydney, from Darlinghurst 1841
15 Wisemans Ferry 1838
16 Pass above Wiseman’s Ferry, Hawkesbury River 1840
17 The Vineyard, Parramatta 1840
18 Island of Moorea (Eimeo), near Tahiti 1840
19 Lake Canobolas near Orange 1840
20 Sydney and Botany Bay from North Shore 1840
21 Sydney from the North Shore [c1840]
22 View from Vaucluse 1841
23 Government House 1841
24 Rose Bay 1841
25 Sydney from St Leonards November 1841
26 The Harbour of Papiete, Island of Tahiti 1841
8
27 Sydney Cove [View of Old Government House] 1842
28 Government House Stables 1841
29 Sydney Cove [View from the window] 1842
30 Governor Bourke’s Statue, overlooking the harbour 1842
31 Near Blackheath [King George’s Mount from the Bathurst Road] 1848
32 Illawarra [Brush Scene, Brisbane Water] 1848
33 Sydney from Crows Nest 1851
34 Old Government House Melbourne [Jolimont] [1860]
35 Flagstaff House, Melbourne [Toorac House, Melbourne] [1860]
36 Burrangalong Cavern, Rockybridge Creek [c1849]
37 Portrait of Conrad Martens by Maurice Felton 1840
38 Sydney from the North Shore 1841
40 Castle in Devonshire, England [Salcombe Castle] [1839]
41 Temple of Minerva, Island of Aegina [1853]
42 Evening
43 Station [View of Arthursleigh] [1839]
44 Orofena, Tahiti [1838]
45 The Tomb
46 The Corcovada, Boto Fogo, Rio Janeiro [1838]
47 Arthur Street, North Sydney [Gum Tree, St Leonards] [1848]
48 Cox’s Farm, Mudgee [1841]
49 Near Cox’s farm, Mudgee [1841]
50 Papiete, Tahiti
51 Wombeyan Caves [Interior of Burrangalong Cavern] [c1843]
52 Scene on the South Coast 1841
53 Tahlee, Port Stephens, New South Wales 1841
54 View of Fort Street and the North Shore, from Flagstaff Hill 1843
55 Sydney Cove [View from the Window] 1842 9
56 Lake Illawarra 1844
57 Riverstone Bridge [Mitchells Bridge] 1843
58 Denn’s Falls, Tia River, NSW
59 Landscape Study
60 Sydney Harbour
61 View of Sydney Harbour [c1850]
62 View of Sydney Harbour showing Sydney Cove [c1850]
63 Sydney Harbour from Darling Point 1847
64 Sydney from Robertson’s Point 1853
65 Sydney Harbour 1840
66 Sydney from the North Shore 1842
67 View towards Miller’s Point 1851
68 Portrait of Elizabeth Martens December 1844
69 Portrait of Rebecca Martens 1845
70 Moorea Island, Tahiti
71 Residence of Dr James Mitchell, Cumberland Place, Sydney [House, Bunkers Hill] 1842
72 Wiseman’s Ferry 1848
73 View of Sydney from Waverley 1847
74 Marsipuli [1861]
75 Cabbage Tree Gully, Illawarra 1846
76 The Artist’s House, Sydney or Rockleigh Grange, St Leonards [c1850]
77 Airdrie Castle, Scotland Compton Castle near Totness, Devon [1857]
78 Classical Landscape
79 Canal Scene, Venice
80 The Valley of the MacDonald from the Road beyond Wisemans Ferry 1840
81 The Macdonald River from above Wiseman’s Ferry [c1840]
82 The Macdonald River from Above Wiseman’s Ferry 1840
83 Stalagmites, Burrangalong Cavern [May 1843]
84 Burrangalong Cavern [May 1843] 10
85 Gums [c1840]
86 View of Sydney Harbour [Sydney from the North Shore] [c1840]
87 Wooded Landscape with a distant view of Sydney [View of Sydney from above Elizabeth Bay] [c1850]
88 Portrait of Robert Campbell [1847]
89 A View of Sydney Harbour [View from Craigend] [c1840]
90 Overlooking the Harbour, Sydney
91 Self‐Portrait of Conrad Martens [c1848]
92 Commissioner Henry Bingham, with his horse [c1850]
93 Near Wisemans Ferry, N.S.W.
94 Lake Landscape, Illawarra 1848
95 The Waterfall
96 Port Famine, Straits of Magellan, the anchorage of H.M. ships ‘Adventure’ and ‘Beagle’, off and on, 1827‐30
97 Landscape
98 Landscape study
99 Liverpool Ranges
100 Study of Trees
101 On the Parramatta River
102 The Road
103 The Little Hartley Fort
104 The Source of the Grose
105 South American Landscape
106 Mountain and Glade
107 View on Macquarie River 1841]
108 The South Coast, N.S.W.
109 Sea Study 1835
110 Wentworth Falls
111 Govetts Leap
112 Illawarra
11
113 Sydney from the North Shore
114 An Australian Bush Scene
115 Sydney Town [c1845]
116 Morning, Sydney Harbour
117 View of Sydney harbour, from ‘Craigend’, Darlinghurst
118 Scotch Lake Scene
119 Sydney Harbour
120 Portrait of Conrad Martens’ Mother, by Murford
121 Near Ivy Bridge, Devon [September 1848]
122 On the Clyde, near Bateman’s Bay
123 Landscape
124 A Creek on the South Coast
125 [Scene near the Weatherboard Inn] [1853]
126 The Black Eagle] [1852]
127 [The Castaway] [1853]
128 [Coochin Run] [1853]
129 [The Antiquary] [1878]
12
Conrad Martens works in oil ‐ Arranged chronologically
No. Title Date of Execution / Commission
46 The Corcovada, Boto Fogo, Rio Janeiro 20 March 1838
13 H.M.S. Beagle off Mount Sarmiento, Tierra Del Fuego 18 April 1838
109 Brush at Illawarra 26 May 1838
44 Orofena, Tahiti 31 May 1838
15 Wisemans Ferry 20 September 1838
40 Salcombe Castle 2 May 1839
8 Govets Leap 23 May 1839
2 Ford of the Wollondilly 25 June 1839
11 Gibraltar Rocks 24 July 1839
43 View of Arthursleigh 16 August 1839
50 Papiete, Tahiti 8 November 1839
89 View from Craigend 4 January 1840
20 Sydney and Botany Bay from North Shore 8 February 1840
21 Sydney from the North Shore
86 View of Sydney Harbour
19 Lake Canobolas near Orange 16 February 1840
16 Pass above Wiseman’s Ferry, Hawkesbury River 24 April 1840
81 The Macdonald River from above Wiseman’s Ferry
5 View from Rosebank 15 July 1840
17 The Vineyard, Parramatta 19 August 1840
18 Island of Moorea (Eimeo), near Tahiti 29 September 1840
4 Sydney Harbour from Vaucluse 30 October 1840
80 The Valley of the MacDonald from the Road beyond Wisemans Ferry 4 December 1840
82 The Macdonald River from above Wiseman’s Ferry 30 December 1840
13
37 Portrait of Conrad Martens 1840
85 Gums [c.1840]
14 View from Craigend 14 January 1841
1 The Bay of Islands, New Zealand in 1835 18 January 1841
26 The Harbour of Papiete, Island of Tahiti 26 January 1841
49 Near Cox’s farm, Mudgee 13 February 1841
48 Cox’s Farm, Mudgee 24 February 1841
107 View on Macquarie River 17 May 1841
22 View from Vaucluse 8 / 22 July 1841
38 Sydney from Mossmans Bay 7 August 1841
60 Sydney Harbour
62 View of Sydney Harbour
23 Government House 28 October 1841
25 Sydney from St Leonards 14 November 1841
24 View from Rose Bay 30 November 1841
70 Moorea Island, Tahiti 11 December 1841
53 Tahlee, Port Stephens, New South Wales 11 December 1841
27 View of Old Government House 21 January 1842
28 Government House Stables 31 January 1842
71 Residence of Dr James Mitchell, Cumberland Place, Sydney 9 March 1842
134 Small view of part of Govt Stables 10 April 1842
30 Governor Bourke’s Statue, overlooking the harbour 27 June 1842
52 View, Tahlee 13 July 1842
29 View from the Window 26 September 1842
55 View from the Window
66 Sydney from the North Shore 1842
83 Stalagmites, Burrangalong Cavern May 1843
84 Members of an Expedition at the Burrangalong Cavern May 1843
14
51 Interior of Burrangalong Cavern [c.1843]
6 Lansdowne Bridge 18 January 1844
57 Mitchells Bridge 18 January 1844
9 ?Illawarra Lake 25 March 1844
56 Lake Illawarra 31 October 1844
68 Portrait of Elizabeth Martens December 1844
69 Portrait of Rebecca Martens 1845
7 View above Rushcutters Bay August 1846
88 Portrait of Mr Campbell 8 February 1847
63 Sydney Harbour from Darling Point 1847
73 View of Sydney from Waverley 19 March 1847
135 Double Bay 22 March 1847
65 View of Sydney from St Leonards (Litho) [May 1848]
132 View of Sydney from St Leonards (Litho) [1848]
133 View of Sydney from St Leonards (Litho) [1848]
32 Illawarra [Brush Scene, Brisbane Water] 4 July 1848
54 View of Fort Street and the North Shore, from Flagstaff Hill 4 July 1848
72 Wiseman’s Ferry 1848
94 Lake Landscape, Illawarra 1848
47 Arthur Street, North Sydney [Gum Tree, St Leonards] [1848]
91 Self‐Portrait of Conrad Martens December 1848
31 King George’s Mount from the Bathurst Road 7 August 1849
121 On the Erme River, near Ivy Bridge, Devon 7 August 1849
36 Northern Entrance to Burrangalong Cavern 7 August 1849
92 Commissioner Henry Bingham, with his horse [c.1850]
33 Sydney from Crows Nest 14 February 1851
136 Burns Inn, outdoor 4 March 1851
67 View towards Miller’s Point 1851
15
126 The Black Eagle 7 August 1852
125 Scene near the Weatherboard Inn 31 January 1853
64 Sydney from Robertson’s Point 22 April 1853
128 Coochin Run 31 May 1853
41 Temple of Minerva, Island of Aegina 18 July 1853
45 The Tomb [1853]
137 Glen. Franklin Vale 8 November 1853
138 Portrait of Conrad Martens by P.Nuyts 1853
139 The Harbour from Millars Corner 29 April 1854
127 The Castaway 1 May 1855
140 View of Sydney 25 June 1855
61 View from above Vaucluse 12 February 1856
141 St Pauls 28 May 1857
142 The Huntsman 17 December 1857
77 Compton Castle near Totness, Devon 12 January 1858
39 Parramatta River 2 November 1839
35 Flagstaff House, Melbourne 20 February 1860
34 Old Government House Melbourne 4 March 1860
10 Coolangatta Mountain 23 June 1860
87 View of Sydney from above Elizabeth Bay ?
74 Musipula 3 May 1861
3 Humes Crags on the Gloucester, with figure shooting 31 July 1861
76 The Artist’s House, Sydney or Rockleigh Grange, St Leonards [c.1867]
143 Tilligerry 13 March 1869
58 Denn’s Falls, Tia River, NSW [?1874]
144 Above Balmoral (sketch) 28 May 1878
145 Sydney from Silica 28 May 1878
146 Funchal (sketch) 25 June 1878
16
147 Coolangatta (sketch) 25 June 1878
129 The Antiquary 20 July 1878
Undated & Missing Works
12 A Harbour, possibly Pittwater 1835
42 Evening
59 Landscape Study
78 Classical Landscape
79 Canal Scene, Venice
90 Overlooking the Harbour, Sydney
95 The Waterfall
96 Port Famine, Straits of Magellan, the anchorage of H.M. ships ‘Adventure’ and ‘Beagle’, off and on, 1827‐30
97 Landscape
98 Landscape study
99 Liverpool Ranges
100 Study of Trees
101 On the Parramatta River
102 The Road
103 The Little Hartley Fort
104 The Source of the Grose
105 South American Landscape
106 Mountain and Glade
108 The South Coast, NSW
110 Wentworth Falls
111 Govetts Leap
112 Scene on the South Coast
113 Sydney from the North Shore
114 An Australian Bush Scene
17
115 Sydney Town [c1845]
116 Morning, Sydney Harbour
117 View of Sydney harbour, from ‘Craigend’, Darlinghurst
118 Scotch Lake Scene
119 Sydney Harbour
120 Portrait of Conrad Martens’ Mother, by Mugford
122 On the Clyde, near Bateman’s Bay
123 Landscape
124 A Creek on the South Coast
18
CATALOGUE OF WORKS
No. 1
Title The Bay of Islands, New Zealand, 1835 [Kororaika from the Hill, The Bay of Islands, New Zealand, in 1835]
Date [1841]
Medium Oil on canvas
Dimensions 33 x 48cm (13 x 19in)
Library No. Turnbull Library
Subject Group New Zealand, Bay of Islands, Kororareka, Kororaika Beach, Maoris, Ships
Dated ‘1835’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Turnbull Library
Publication‐
Reproduced Lionel Lindsay, Conrad Martens ‐ The Man and His Art, Sydney, 1920, plate X, colour, titled ‘Bay of Islands, New Zealand, from the Hill of Kororareka in 1835’.
Lindsay, ibid, 1968, plate 12, colour, titled ‘The Bay of Islands, New Zealand, 1835’.
Reviews ‐
Exhibition ’Fine Arts Exhibition’, Melbourne, 1853, lot 96, titled ‘Kororarika, Bay of Islands, New Zealand’.
Provenance J.B.Montifiore, 1841.
Dr G.H.Abbott, 1919.
Lawsons, Dr G.H. Abbott sale, 25 November 1919, cat no 1, 125 guineas, purchased by Mr Arthur Wigram Allen, Sydney, 1920.
W.S. Ellendens, December 1975, $17000, purchased by a Wellington businessman.
Turnbull Library.
Notes
The oil is based upon the original pencil sketch ‘Kororarika, Bay of Islands, Apr. 6’ (ML PXC294 f.35) taken by Martens in 1835. This sketch also shows the Missionary Settlement, and Waitonga River. Another pencil sketch, simply titled ‘Bay of Islands’ (ML PX*D307‐6 f.1), though from a slightly different position, is also known. Both the pencil sketch and oil show a view of Kororarika beach from the hill behind, looking out into the Bay of Islands. The oil painting is most likely the work entitled ‘Kororaika from the Hill’ sold by the artist to a Mr Montifiore for 8 19 guineas on 18 January 1841, whereupon it was immediately sent to England. Mr Montifiore was most likely Joseph Barrow Montifiore (1803‐1893), a local merchant and financier, or his brother and partner Jacob (1801‐1895) who was based in London. The Montifiore’s had been patrons of the artist since his arrival in Sydney in April 1835, and remained so until 1848. In later years their descendants also patronized Martens. Though the oil painting is inscribed ‘1835’, it is the opinion of this author that it was painted during late 1840, or early 1841, as Martens did not begin painting in oils in New South Wales until 1838, and it is unlikely that it was executed whilst he was in New Zealand in 1835. Martens had visited the Bay of Islands between 2‐9 April 1835, whilst en route to Sydney from South America via Tahiti. He produced a number of pencil sketches during his stay in New Zealand, including two at Kororaika on the 6th and 7th April. When this work was sold at auction in 1976 the following reports appeared:
Australian Financial Review, 18 December 1976: "$17,500 for a Conrad Martens. An oil painting by Conrad Martens, The Bay of Islands, NZ (1835), was sold in Sydney last night for $17,000 to a New Zealand businessman. The underbidder was the Art Gallery of New South Wales. The New Zealand National Gallery was also interested in the painting and had a representative at the sale. The painting, 33cm by 48cm, is the earliest recorded oil painting completed in NSW by Conrad Martens and is illustrated in Conrad Martens, The Man and His Art, by Lionel Lindsay, published in 1920. It is also recorded in the Mitchell Library in his sketch book by Martens of pencil views. It was sold by William S. Ellenden.
Australian Financial Review, 31 December 1975: "There was certainly no letting up of enthusiasm in the $17,000 paid by a Wellington businessman at William S. Ellenden’s in Sydney just before Christmas for The Bay of Islands, an oil by Conrad Martens.....The buyer, who wishes to remain anonymous, maintained that the Martens was the only New Zealand work by the artist who was in that country for five days. Stanley Lipscombe had such an oil a couple of years ago."
Australian Financial Review, 23 January 1976: "A Conrad Martens oil painting was sold for $17,000, a record auction price for the artist, at a Sydney auction last November. Although it was a New Zealand scene and went to a New Zealand collector noted for his enthusiasm, it was symptomatic of a trend on both sides of the Tasman...... The Art Gallery of New South Wales was the underbidder on the Martens."
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
20
No. 2
Title Australian Landscape with cattle and stockman at a creek [Ford of the Wollondilly]
Date 1839
Medium Oil on board
Dimensions 47 x 66cm (18 1/2 x 26 1/2in)
Library No. ‐
Subject Group Wollondilly River, Cattle, Stockman, Horse, Ford, Arthursleigh
Dated ‘1839’
Signed ‘C.Martens’
Inscribed ‐
Collection Joseph Brown Collection
Publication Frank McDonald, Conrad Martens 1801‐1878, Clune Galleries, Sydney, 1967.
Daniel Thomas, Outlines of Australian Art ‐ The Joseph Brown Collection, (Expanded Edition), Macmillan, South Melbourne, 1980.
Barry Pearce, The Joseph Brown Collection, Art Gallery of New South Wales, 1989.
Reproduced McDonald, op cit., p2, b/w.
Joseph Brown Gallery, The Joseph Brown Collection, Melbourne, October 1980, cat no 6, b/w.
Thomas, op cit., plate 5, colour.
Reviews "Less picturesque and conventionally composed than many of his pictures, especially those of Sydney Harbour, in this view Martens seems more involved with the actuality of the place, less the remote observer. The evocation of heat, the calm spacing of verticals in the tawny landscape, the silence of pastoral life are qualities more commonly found in Tom Roberts fifty years later." (McDonald, 1967).
"One of the most outstanding paintings of the group is Conrad Martens ‘Australian landscape with cattle and stockman at a creek (Cat. 3)’. Its sensitive rendering of foliage and dark dispels some of the cliches about the inability of early colonial artists to capture the true quality of the eucalyptus tree" (Pearce, 1989).
Exhibition Gainsborough Gallery, Brisbane, 1936.
‘Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, cat no 2.
‘Exhibition of 19th Century Australian Paintings’, Joseph Brown Gallery, ?1968, cat no 5.
‘The Joseph Brown Collection’, Joseph Brown Gallery, Melbourne, October 1980, cat no 6.
21
‘Australian Paintings from the Joseph Brown Collection (Introduction by Barry Pearce)’, Art Gallery of New South Wales, 4 May ‐ 18 June 1989, cat no 3.
Provenance Hannibal Hawkins McArthur, 1839. Clune Galleries March 1967. Joseph Brown 1968.
Notes
The oil is based on the original pencil sketch ‘The Ford, Arthursleigh. Augst 7/36’ (DL PX24 f.32), taken during Martens’ excursion to the Southern Tablelands of New South Wales during July and August of that year. This oil is most likely the work entitled ‘Ford of the Wollondilly’ sold by the artist to Hannibal Hawkings McArthur for 12 guineas on 25 June 1839. H.H. McArthur, of The Vineyard, Parramatta, owned the property Arthursleigh on the southern tablelands of New South Wales, through which the Wollondilly River flowed. The property Arthursleigh, though built upon a plain, is surrounded by the deep and picturesque gorges of the Wollondilly River which borders it. Martens made an extensive tour of the area ‐ visiting Bungonia, Arthursleigh, Fitzroy Falls and Throsby Park ‐ during July and August of 1836, taking a number of pencil sketches, including the one entitled ‘The Ford, Arthursleigh’, upon which the oil is based. Watercolour developments of this view are also known.
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22
No. 3
Title Mountainous Landscape / The Explorer [Humes Crags on the Gloucester, with figure shooting]
Date [1861]
Medium Oil on millboard
Dimensions 22.3 x 31.7cm (8 3/4 x 12 1/2in)
Library No. ‐
Subject Group Mountains, Figure shooting
Dated ‘18..’ l.r.
Signed ‘C.Martens’ indistinctly l.r.
Inscribed On the back of the board is the London manufacturers’ printed label ‘Prepared Millboard / Windsor & Newton / etc’.
Collection ‐
Publication Frank McDonald, Conrad Martens 1801‐1878, Clune Galleries, Sydney, 1967.
Reproduced ’Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, p2, b/w.
Reviews ‐
Exhibition ’Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, cat no 1.
Provenance Edwin Baldwin, 1861.
F. Penfold Hyland.
Lawsons, Dr John C. Fulton, O.B.E., Estate, 22 February 1966, ‘Mountain landscape with figure’, cat no 306, $120.
Clune Galleries, 1967, ‘Mountainous Landscape’.
Thirty Victoria Street, September 1970, ‘The Explorer’, $1575.
Christies, 16 September 1970, lot 99, ‘Explorer’, $1800.
Cremorne Gallery.
Notes
The oil is based on the original pencil sketch ‘Humes Crags on the Gloucester River, 16 April 1841’ (ML SV*SpColl/Martens/10). Martens had taken this sketch during an extensive tour of the Port Stephens and Newcastle region during April ‐ May 1841.
Known variations of this subject include
23
*’Humes Crags on the Gloucester River, 16 April 1841’, pencil sketch (ML PX*D307‐2 f.8). Contained in a later collection of sketches (c1843), therefore most likely a copy.
*’Hume’s Crags, on the Gloucester’, n.d., pencil sketch (DL PX28 f.68).
*’Hume’s Crags on the Gloucester. Sept 18th 42’, pencil sketch (DL PX28 f.75). This is a copy of the sketch of 16 April 1841.
*’Humes Crags’, sold to Baldwin Esq for £3 on 25 October 1861.
*’Humes Crags’, watercolour, sold to Henry Norton for 20 guineas on 25 March 1863, and now part of the Art Gallery of New South Wales collection.
*’Humes Crags, sepia, 14 x 10’, sold to the New South Wales Academy of Art for 5 guineas during January 1877.
The oil painting in question differs from the above works in its inclusion of a single figure on a ledge in the central foreground, facing the panorama. The Humes Crags majestically rise in the background and the figure appears to be an explorer aiming a gun to shoot, or perhaps a scientist focussing a telescope towards the sun. In its appearance at auction and exhibition the oil had variously been titled ‘Mountainous Landscape’ or ‘The Explorer’.
Martens had noted the despatch of a work entitled ‘Figure Shooting (in brown)’ to Edwin Baldwin Esq. for sale via an Art Union held on 31 July 1861, with a price of £3.10. On 25 October he subsequently noted the sale of ‘Humes Crags’ to Baldwin for £3. It is suggested that these two works are one in the same, and are the oil painting under discussion. The oil painting also possesses a distinctive brown colouring, further enhancing the association with Martens’ ‘Figure Shooting (in brown)’.
The name ‘Humes Crags on the Gloucester, with figure shooting, 1861’ has therefore been tentatively given to the work.
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24
No. 4
Title Sydney Harbour from Vaucluse [View. Sydney from Lewis’s ground]
Date 1840
Medium Oil on canvas
Dimensions 61.4 x 90.2cm (24 x 35in)
Library No. ‐
Subject Group Sydney Harbour, Vaucluse, Artist, Dog, Gun, Rocks
Dated ‘1840’ l.r., brown paint
Signed ‘C.Martens / Sydney’ l.r., brown paint
Inscribed ‐
Collection Elders IXL Collection.
Publication Frank McDonald, Conrad Martens 1801‐1878, Clune Galleries, Sydney, 1967.
Reproduced McDonald, op cit., p4, colour, and postcard, colour.
Elders IXL Collection, Sydney, plate 21, p10, colour.
Reviews "In Lionel Lindsay’s book on Martens there is a later view, of 1864, from much the same point [‘Sydney from Vaucluse 1864’, DL16]. The distant city is larger, sailing ships are less emphasized than steam but the main differences are that the later view has a fairly empty foreground with no figures, no special display of botanical specimens and no great contrast between rococo foreground and airy distance. The later picture’s all over uniformity makes it more Victorian than romantic in its composition, while its concern with effects of light and space rather than with botanical Australiana indicates that Martens, or his customers, had by then gone native. They no longer found the place in which they lived exotic. It was simply home; they had become Australians." (McDonald, 1967).
Exhibition ’Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, cat no 3.
‘Elders IXL Collection’, S.H. Ervin Museum and Art Gallery, Sydney, 1987.
Provenance Clune Galleries, 1967.
Notes
The large size of this work suggests that it could be one of two works noted by Martens: i. ’Sydney from above Sandy Bay’ sold to R. Campbell for 30 guineas on 5 June 1840; or ii. ’View Sydney from Lewis’s ground’ sold to J. Bell on 30 October, also for 30 guineas.
‘Lewis’s ground’ could refer to the property of the Colonial Architect, Mortimer Lewis, at Darling Point. The exact location of Sandy Bay remains unclear. 25
The view looks west from Vaucluse. The first headland on the left is Point Piper, with Government House and the Rum Hospital visible in the middle distance. A figure ‐ perhaps the artist ‐ is seen standing on a rocky ledge in the central foreground, with a gun and dog by his side. The figure appears to be sketching upon a board.
This work is one of the largest executed by Martens, and the size accounts for the 30 guinea price tag upon sale.
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26
No. 5
Title View of Darlinghurst, Woolloomooloo Bay on the left [View from Rosebank]
Date [1840]
Medium Oil on canvas
Dimensions 47 x 66.2cm (18 1/2 x 26in)
Library No. ‐
Subject Group Grantham, Tusculum, Brougham
Dated ‐
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection James O. Fairfax Collection.
Publication G. Nesta Griffiths, Some Houses and People of New South Wales, Ure Smith, Sydney.
Reproduced Frank McDonald, Conrad Martens 1801‐1878, Clune Galleries, Sydney, 1967, cover, colour.
Art and Australia, December 1967, colour.
James Gleeson, Australian Painters, Lansdowne Press, 1976, plate 51, colour.
The Art of Gardening in Colonial Australia, Brisbane Civic Art Gallery and Museum, Brisbane, 1979, p32, b/w.
Creating Australia (Exhibition Catalogue), Art Gallery of South Australia, 1988, p55, colour.
Reviews "It is interesting that in Thomas Cole’s most famous American landscape, The Conneticut River near Northampton, 1846, the artist has carried to his hilltop a folding chair almost identical with the one in this Darlinghurst garden." (McDonald, 1967).
Exhibition ’Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, cat no 4.
‘Sydney Harbour, 1794‐1979’, S.H. Ervin Museum and Art Gallery, 3‐26 August 1979, cat no 11.
‘The Great Australian Art Exhibition’, Art Gallery of South Australia, 1988.
Provenance Telford Simpson Clune Gallery, 1967 James O. Fairfax.
Notes
This work is based on the original pencil sketch entitled ‘View from Rosebank, July 7 1840’ (DL PX24 f.52). The only major difference between the initial pencil sketch and finished oil is the inclusion of the folding chair, robe, umbrella, and book in the central foreground, by the stone wall; and the exclusion of a rough lattice fence 27 alongside the path in the right foreground.
The oil painting is obviously the work entitled ‘View from Rosebank’ sold to R. Campbell for 15 guineas on 15 July 1840. Martens also sold a similarly titled work ‐ in watercolour ‐ to Campbell on 23 July, for 10 guineas. Both were immediately despatched to England.
According to notes compiled by the Mitchell Library staff (refer ML PXn662), Rosebank was built by James Laidley, Deputy Commissary General, around 1828, on five acres of land granted him in that year. The house was sold by the Laidley family shortly after James Laidley’s untimely death in August 1835, and was purchased in 1836 by Robert Campbell Tertius ‐ undoubtedly the same ‘’ who purchased the work in 1840. The relationship between this Robert Campbell and the famous merchant Robert Campbell of Wharf House, Sydney Cove, is unclear.
Rosebank house was situated on land now bordered by William, Victoria, and Forbes Streets, Sydney, just to the west of Sir Thomas Mitchell’s Craigend. In a December 1836 sketch by Robert Russell (DL PX4 f.9) the house is shown as a two‐storey residence, with three windows across the top storey, a verandah on the lower storey (facing the harbour) and two single‐storey side wings, with raised pediments (refer photograph, Nesta Griffiths, op cit., p106). The garden and back view of the house are also shown, with the grounds falling away quite steeply towards Woolloomooloo.
Two views of Rosebank house by Conrad Martens are known ‐ the first is a pencil and wash sketch inscribed ‘Elswick ‐ Norton Esq’ (ML PXC391 f.28), and the second, an untitled watercolour (DG40) dated 1840. The pencil and wash sketch refers to Elswick, the home of James Norton, at Petersham. Perhaps Norton had commissioned these works in 1840.
"This view shows on the left Woolloomooloo Bay extending much further inland than now, and on the right part of Darlinghurst now called Kings Cross. The terrace from which the view was taken could be near Barham, a house whose remains survive in the Sydney Church of England Grammar School for Girls, or perhaps near Rosebank which then stood by the present Kings Cross post office....There is a slight difficulty in that the only safely identifiable house in the view is Mr Frederick Parbury’s ‘Grantham’, the distant one with the Gothic pinnacles at the end of Potts Point....Of the other houses in the view that in the centre might be Brougham and that on the right might be Tusculum." (McDonald, 1967).
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28
No. 6
Title Lansdowne Bridge
Date 1843
Medium Oil on canvas
Dimensions 40.6 x 60.8cm (16 x 24in)
Library No. ‐
Subject Group Sailing Boat, Lansdown
Dated ‘1843’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Mr & Mrs Philip Simpson
Publication Colin O’Connor, Spanning Two Centuries ‐ Historic Bridges of Australia, University of Queensland Press, St Lucia, 1985.
Joan Kerr (ed.), Dictionary of Australian Artists, University of Sydney, 1984, pp236‐8.
A.K. Weatherburn, Australia’s Interior Unveiled ‐ A Biography of George William Evans, Surveyor, Explorer and Artist, Ryde, 1987.
Reproduced ’Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, p5, b/w.
Reviews ‐
Exhibition? ‘Exhibition of Paintings, Water‐colour Drawings and Engravings’, Hobart, 1845, titled ‘Landscape, New South Wales’, cat no 14.
‘Art Treasures Exhibition’, Hobart, 1858, cat no 34, titled ‘Bridge on George’s River, on the Liverpool Road, New South Wales’.
‘Art Treasures Exhibition’, Hobart, 1862‐3, cat no 33, titled ‘Bridge on the George’s River, Liverpool Road, New South Wales’.
‘Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, cat no 5.
Provenance G.W. Evans, 1844 T. Gilpin, 1852 Lawsons, 8 April 1924, lot 16, ‘The George’s River Bridge’ Lawsons 15 March 1950, cat no 396 Mr & Mrs Philip Simpson.
Notes
The original pencil sketch of this view of Lansdowne Bridge has not been located, but a Robert Russell pencil sketch in the Mitchell Library inscribed ‘by Martens May 36’ is obviously a copy of the original sketch, suggesting that 29
Martens had visited Lansdowne Bridge in May 1836. Robert Russell was Martens’ first student in the Colony, beginning lessons in September 1835.
Known variations of this subject by Martens include
*Lansdowne Bridge, 1836, watercolour (National Library of Australia)
*Lansdowne Bridge, n.d., sepia wash (DL PX27 f.35).
* Lansdowne Bridge, c1843, pencil (DL PX19 f.23)
Lansdowne Bridge was constructed by David Lennox, and officially opened by Governor Bourke on 26 January 1836. It was/is considered Lennox’s greatest achievement amongst his many bridge constructions.
The 1836 watercolour view of Lansdowne Bridge, now in the National Library of Australia collection, was originally commissioned by a group of ‘landed proprietors and residents of the southern districts of the Colony’ on 21 April 1836 for £17, including frame and glass, and was presented to Governor Bourke on 11 May of that year. The bridge was considered the crowning engineering achievement of the young Colony, and a tribute to Bourke’s administration.
The 1843 oil painting of the bridge is obviously the work entitled ‘Lansdown Bridge’ sold by Martens to a ‘W. Evans’ on 18 January 1844 for 12 guineas.
‘W. Evans’ refers to George William Evans (1780‐1852), a noted surveyor, explorer, and artist (Weatherburn, 1987, op cit.; Kerr, 1984, op cit.) Conrad Martens’ first Sydney studio (1835‐c1839) was in a room in Bridge Street above Evans’ bookstore, so the two were long time acquaintances by the time Evans left Sydney in 1844. Evans was a long time resident artist in the Colony and had earlier taught art at the Kings School, Parramatta. He and Martens would therefore have had much in common, what with the general surfeit of artists in the Colony at the time.
Evans permanently left Sydney for Hobart on 4 February 1844, purchasing the above work (along with another oil painting of a bridge built by Lennox in 1833 at Mitchell’s Pass near Emu Plains) in the weeks just prior to his departure.
Evans eventually died in Hobart in 1852 and in 1858 both bridge paintings were exhibited at the ‘Art Treasures Exhibition’ in Hobart by Evans’ son‐in‐law Mr T. Giblin. Evans had also shown them earlier, in 1845.
In 1835 Martens had painted Lennox’s first Australian bridge, namely the Horseshoe Bridge on Mitchell’s Pass near Emu Plains, which had been completed in 1833. Evans purchased / commissioned an oil painting of this bridge at the same time as the above (see this catalogue no.57). Both works would obviously remind Evans of the important part he playing the opening up of the Colony to the west and south‐west, both as an explorer and surveyor.
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30
No. 7
Title View above Rushcutters Bay
Date August 1846
Medium Oil on canvas
Dimensions 42.0 x 58.2cm (16 x 23in)
Library No. ‐
Subject Group Rushcutters Bay, Road, European Figures, Horsemen
Dated ‘August 1846’ label on back
Signed ‘C.Martens, Sydney’ l.r.cnr., fawn paint
Inscribed ‘View above Rushcutters Bay / near Sydney N.S.Wales / August 1846’, in black ink by the artist on a paper label pasted to the back of the canvas.
Collection Elders IXL Collection.
Publication‐
Reproduced F. McDonald, Conrad Martens 1801‐1878, Clune Galleries, Sydney, 1967, p6, b/w.
Elders IXL Collection, Sydney, 1987, plate 22, p11, colour.
Reviews ‐
Exhibition ’Conrad Martens 1801‐1878’, Clune Galleries, Sydney, 1967, cat no 6.
‘Elders IXL Collection’, S.H. Ervin Gallery, 1987, cat no 22.
Provenance Christies, London, 30 April 1965, 550 guineas, titled ‘A View from above Rushcutters Bay near Sydney, NSW, with figures on a road’ ‐ purchased by Mr Sabin.
Dr & Mrs Norman Wettenhall, 1967.
Thirty Victoria Street, August 1971, $16000, purchased by Elders IXL.
Notes
This is the work entitled ‘Rushcutters Bay’ commissioned from the artist by Bishop Broughton of Sydney on 4 May 1846. It was completed during early August and taken to England on 18 August by Francis Nixon, the Bishop of Tasmania. Bishop Nixon was himself a skilled amateur artist and patron of the arts in Tasmania. He had recently taken part in the opening ceremonies of St Thomas’s Church, St Leonards, on Wednesday, 6 August 1846, prior to travelling to England. Martens was co‐designer of that church; a Church Warden; and his geologist friend the Reverend W.B. Clarke was St Thomas’s first minister. The view looks down New South Head Road from near Mona Road to Rushcutters Bay. Beyond is the hill of Darlinghurst with its windmills and villas.
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31
No. 8
Title Valley of the Grose [Govets Leap]
Date [1839]
Medium Oil on canvas
Dimensions 64 x 90.5cm (24 1/2 x 35in)
Library No. ‐
Subject Group Blackheath, Blue Mountains
Dated ‐
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection Consolidated Press Collection.
Publication F.W. & J.M. Nicholas, Charles Darwin in Australia, Cambridge University Press, Melbourne, 1989.
Reproduced Lionel Lindsay, Conrad Martens ‐ The Man and His Art, 1968, plate 3, colour.
Focus, Consolidated Press Holdings Ltd. (staff magazine), June 1979, cover, colour.
B. Pearce, H.W.B. Chester Memorial Collection (catalogue), Art Gallery of New South Wales, 1979, frontpiece (detail) and p13, colour.
The Australian Women’s Weekly, 28 November, 1979, p37, colour.
D. Dundas, The Art of Conrad Martens, Macmillan, Sydney, 1980, p53, colour.
Charles Darwin in Australia, op cit., p40, colour.
Reviews "No.386. ‐ Govetts leap, Bathurst Road. ‐ Martens. ‐ Property of Mr. J. Sea. ‐ Decidedly of the tea board school, and apparently painted with the design of killing any picture that might be placed near it. If such were the intention of its author, he has signally failed, for his own quiet and pleasing pictures 387 [Erme River, near Ivy Bridge, Devonshire] and 388 [View of Tahlee, Port Stephens, Residence of Captain King, R.N.], placed beneath it, receive tenfold value from being contrasted with the gaudiness of the more ambitious attempt." (Sydney Morning Herald, 2 June 1849)
"....’Valley of the Grose’ is one of the most successful of the larger scenic oil paintings. Its contrasting tonal divisions make an arresting impact, followed by an enjoyment of the delicious quality of the pigment in both the darker and the lighter areas, but the latter in particular. From the sunlit ledges of rock in the lower part of the composition, merging into the felicitously rendered slopes beyond, the eye is led up through melting transitions of colour to the vaguely defined bluff on the skyline. Framing this subtly painted light area is the richly toned mass on the right into which the artist has introduced a great deal of information about tree forms and their attendant growths. The cliff on the opposite side of the valley, less complex but no less beautifully painted, rising out of the shadowy depths below, encloses the picture on the left." (, 32
op cit., pp22‐3).
Exhibition ’Society for the Promotion of the Fine Arts in Australia’, Sydney, 1849, cat no 386, titled ‘Govetts leap, Bathurst Road’.
‘Loan Exhibition’, Art Gallery of New South Wales, 1897, cat no 57, titled ‘Valley of the Grose, Blue Mountains’.
‘Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 87, titled ‘Valley of the Grose’.
‘H.W.B. Chester Memorial Collection’, Art Gallery of New South Wales, 1979, cat no 11, titled ‘Valley of the Grose’.
Provenance William Carter, 1839.
?H.C. D’Ardier, 1897.
?Dominion Gallery, 1963.
?Lawsons, Dr John C. Fulton Estate, 22 February 1966, entitled ‘Mountain Landscape’.
Kenneth R. Stewart.
Consolidated Press, 1979; ?Alan Bond, 1988.
Notes
This work is based upon the original pencil and grey wash sketch entitled ‘near Blackheath Bathurst Road, May 25/35’ (DL PXX12 f.12). Variations of this work include an untitled watercolour dated 1837 and offered by Tim McComick in 1989; and a watercolour entitled ‘Scene in the Blue Mountains. N.S.Wales’ (DL PX27 f.61). The large size of the oil painting (24 x 35 inches) suggests it is the work entitled ‘Govets Leap, oil’ sold to William Carter, the artist’s father‐in‐law, for 30 guineas on 23 May 1839. This was Martens’ most expensive work since his arrival in New South Wales in April 1835. Martens had also sold a work entitled ‘Valley of the Grose’ around this time, though the similarities / differences between the two are unclear. There is some confusion over the title of the oil painting and other Blue Mountain’s works by the artist. Titles such as ‐
Govetts Leap; Wentworth Falls; Valley of the Grose; near Blackheath, Bathurst Road; Scene near the Weatherboard Inn; Weatherboard Falls; Jamieson Valley, N.S.W., looking towards King’s Tableland, etc. have all been used for the views taken by Martens of the area prior to 1840. In the above case, ‘Govetts Leap’ and ‘Valley of the Grose’ have been interchanged during subsequent exhibitions and sales. In another example, the work entitled ‘Jamieson Valley, N.S.W., looking towards King’s Tableland’ (Lindsay, 1968, plate 35) is actually based on the pencil sketch entitled ‘Scene near the Weatherboard Inn’, which is the more appropriate title. Further research in needed to clarify the titles and subjects of Martens’ many Blue Mountains works. A Conrad Martens oil entitled ‘Wentworth Falls’ (size 20 x 30in) was sold by the Dominion Gallery, Sydney, for 625 guineas during November 1964 ‐ it is possibly the oil painting under discussion. The ‘Mr J. Sea’ who exhibited the work in 1849 is obviously a pseudonym for William and Jane Carter, the artist’s parents’‐in‐law.
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33
No. 9
Title From Mount Tomah, Blue Mountains, N.S.W. [Illawarra Lake]
Date 1843
Medium Oil on canvas
Dimensions 46.5 x 65.5cm (18 1/4 x 25 3/4in)
Library No. ‐
Subject Group Ferns, vines
Dated ‘1843’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed An old inscription on the back of the stretcher described the painting as ‘Forest Scene in N.S.W.’
Collection Consolidated Press
Publication‐
Reproduced B. Pearce, H.W.B. Chester Memorial Collection, Art Gallery of New South Wales, 1979, p23, colour.
The Art of Conrad Martens, Sydney, p45, colour.
The Australian Women’s Weekly, 28 November, 1979, p37, colour.
Reviews "....’Mount Tomah, Blue Mountains’ c1843. The heaviness which appears in many of Martens’ oil paintings is evident here, bearing out my contention that he was less happy in oils than in his watercolours. Nevertheless, the edges of foliage are admirably handled against the luminous sky but the shapes of the foliage masses could well give rise to some of the criticisms of Martens’ work that he was harking back to his English foundations." (, op cit., p25).
See also review of 1847 Sydney Exhibition (Sydney Morning Herald, 26 July 1847) for general discussion of Martens’ oils.
Exhibition ’Exhibition of the Society for the Promotion of the Fine Arts in Australia’, Sydney, 1847, cat no 276, entitled ‘Landscape’.
‘Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 47, entitled ‘From Mount Tomah, Blue mountains, N.S.W.’
‘H.W.B. Chester Memorial Collection’, Art Gallery of New South Wales, 1979, cat no 13, entitled ‘From Mount Tomah, Blue mountains, N.S.W.’
Provenance ?W. Fanning, 1844 Kenneth Consolidated Press 1979; ?Alan Bond, 1988.
34
Notes
The title currently given this work ‐ ‘From Mount Tomah, Blue Mountains, N.S.W.’ ‐ is doubtful (MO). This oil is more likely the work entitled ‘Illawarra Lake’ sold by Martens in October, 1844, to for 12 guineas. Reasons for this attribution are outlined as follows.
The above work is dated ‘1843’. According to Martens’ account books, the only major works sold during 1843‐44 were a view of Sydney Cove; two views of Burrangalong Cavern; two bridge paintings; a view from Burwood; and two views of Lake Illawarra. Only two works ‐ the view from Burwood and one of the Lake Illawarra views ‐ are unaccounted for. All the other works have been identified and are in oil.
Burwood is a suburb of Sydney, on low‐lying ground near Parramatta, and the view in question appears to represent a vista from a mountain ‐ most likely the Blue Mountains or the Illawarra mountain. Therefore it is unlikely that the oil is the View from Burwood, leaving only the Lake Illawarra view to be accounted for.
The blue in the distance is suggestive of water and sea, perhaps representing a view from the Illawarra escarpment looking across Lake Illawarra towards the Pacific Ocean. The ferns in the right foreground are more typical of the lush Illawarra vegetation than the Blue Mountain forests. There are further similarities in the layout and substance of this painting with another oil, entitled ‘Illawarra Lake, 1844’, which is however a view of the Lake from ground level. The large, vine‐enshrouded gum to the left of the view, is common to both works.
Whilst the view could possibly represent one from Mount Tomah, which Martens had visited in July 1838, looking across a cloud shrouded valley of the Blue Mountains, the account books do not record the sale of a view of the area until July 1867, and the evidence for it being the Lake Illawarra view is stronger.
Comparison of this view should also be made with Martens’ exquisite watercolour of 1836 ‘The Five islands, South Coast, N.S.W.’ (Lindsay, 1968, plate 10), also taken from the Illawarra escarpment and looking towards the ocean. The 1843 oil painting is much more sombre and gloomy in tone, perhaps reflecting the economically strained times.
The William Fanning who purchased ‘Illawarra Lake’ in October 1844, exhibited an oil entitled ‘Landscape’ at the 1847 Sydney Exhibition of the Society for the Promotion of the Fine Arts in Australia, and as Martens’ ‘Account of Pictures’ only records the sale of ‘Illawarra Lake’ to Fanning for 12 guineas prior to 1847, it is most likely that both works are one in the same.
The nondescript title ‘Landscape’ and label ‘Forest Scene, N.S.W.’ variously associated with this work suggest that its composition may have been a non‐specific amalgamation of a number of views and subjects, though the lushness of the vegetation is strongly suggestive of an Illawarra locality.
Martens had visited Illawarra in July 1835 and was not known to return. He continued to paint views of the area right up until 1877, the year prior to his death, based on sketches taken in 1835. This oil painting is a combination of elements from a number of those pencil sketches.
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35
No. 10
Title Coolangatta Mountain
Date 1860
Medium Oil on canvas
Dimensions 61 x 89cm (24 x 35in)
Library No. ‐
Subject Group Alexander Berry, Shoalhaven
Dated ‘1860’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Consolidated Press Collection.
Publication‐
Reproduced , H.W.B. Chester Memorial Collection, Art Gallery of New South Wales, 1979, p30, b/w.
Reviews ‐
Exhibition ’Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 91.
‘H.W.B. Chester Memorial Collection’, Art Gallery of New South Wales, 1979, cat no 20.
Provenance Alexander Berry, 1860 Kenneth Consolidated Press, 1979; ?Alan Bond, 1988.
Notes
This is the work entitled ‘View of Coolangatta, oil, 35 x 24, (framed)’ sold by the artist to Alexander Berry on 23 June 1860 for £30. A pencil sketch of this view is known, as also is a partial view of Mount Coolangatta, in pencil, titled ‘Coolangatta, 16 April 1860, Monday’ (Dixson Library PXX12 f.1). Martens had visited Berry’s property Coolangatta, on the New South Wales south coast near Nowra, between 11‐16 April 1860, reaching the site via steamer from Sydney, and stopping by the way at Wollongong and Kiama. Martens had been a long time neighbour of Alexander Berry ‐ both were pioneer settlers of Sydney’s north shore, with Martens’ home at St Leonards built upon 5 acres of land purchased from Berry by his father‐in‐law, William Carter, in 1838, and presented to the artist and his wife as a wedding present. By 1844 the artist and his family had left a residence in Cumberland Street, the Rocks, for their new house ‐ Rockleigh Grange ‐ and land at St Leonards. Alexander Berry, M.L.A., was also a parishioner of St Thomas’s Church, St Leonards ‐ of which Martens was a Warden ‐ and, as a long‐time member of the New South Wales Legislative Assembly, practically assisted the artist attain the position of Assistant Parliamentary Librarian in 1862, by offering a glowing reference. Martens had previously painted a watercolour view of Berry’s house at Crows Nest in 1858.
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36
No. 11
Title Landscape [Gibraltar Rocks]
Date 1839
Medium Oil
Dimensions 45.7 x 66.8cm inside frame; 64.3 x 86.2cm framed. (18 x 26in inside frame; 25 1/4 x 35 framed)
Library No. ML107
Subject Group ‐
Dated ‘1839’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’As We Were’, Mitchell Library, December 1977, cat no 23, titled ‘Landscape’.
Provenance ?, 1839.
Notes
The oil is based on the original pencil sketch entitled ‘View from the Gibraltar Rocks, Arthursleigh. Augst 4/36’ (DL PX24 f.30). A watercolour development of this view is located at ML V*SpColl/Martens/3d, also simply titled ‘Landscape’. The oil painting is most likely the work entitled ‘Gibraltar Rocks’ sold by Martens to Hannibal Hawkins McArthur, owner of the property Arthursleigh, on 24 July 1839 for 12 guineas. Martens had made an extensive tour of the southern tablelands in July and August of 1836, visiting localities such as Bungonia Gorge, Lumley, the Cookbundoon and Wollondilly rivers, Arthursleigh, Gibraltar Rocks, Fitzroy (Quarrooilli) Falls, and Throsby Park. H.H. Macarthur and his family were valued patrons of the artist, commissioning him to produce, for example, a view of Macarthur’s palatial house ‐ Vineyard ‐ at Parramatta. Between 1837‐39 purchased five views of the Arthursleigh area from Martens. The included:
Cookbundoon River 31 August 1837 £12.12. View on the Wollondilly 20 February 1838 £12.12. Ford of the Wollondilly 25 June 1839 £12.12. Gibraltar Rocks 24 July 1839 £12.12. View of Arthursleigh 16 August 1839 £12.12.
It is most likely that the three latter works were in oil and of dimensions 18 x 26" (refer this catalogue no.2 ‘Ford of the Wollondilly’, and no.43 ‘View of Arthursleigh’), whilst the first two were watercolours.
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No. 12
Title A Harbour, possibly Pittwater
Date 1835
Medium Oil
Dimensions 34 x 49
Library No. ‐
Subject Group
Dated ‘1835’
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Christies, London, 14 May 1965, 320 guineas
Notes
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38
No. 13
Title H.M.S. Beagle off Mount Sarmiento, Tierra Del Fuego, in June 1834
Date 1838
Medium Oil on board
Dimensions 18 x 26cm (7 1/4 x 10 1/2in)
Library No. ‐
Subject Group ‐
Dated ‘1838’ verso
Signed ‐
Inscribed Label on verso ‘Mount Sarmiento. Barbara Channel by Conrad Martens 1838. Drawn to order of Capt. Phillip P King R.N. See description of view of this scene Charles Darwin’s Journal June 9, 1834’.
Collection Consolidated Press Collection.
Publication Robert Fitzroy, Narrative of the surveying voyages of His Majesty’s ships Adventure and Beagle, London, Colburn, 1839.
Alan Moorehead, Darwin and the Beagle, Penguin, 1971.
R.D. Keynes, The Beagle Record, Cambridge University Press, Cambridge, 1979.
Reproduced Christies, Dr. J.L. Raven Sale, Sydney, September 1984, cat no 92, p30, b/w.
F.W.& J.M. Nicholas, Charles Darwin in Australia, Cambridge University Press, Melbourne, 1989, p11, colour.
Reviews
Exhibition ’Conrad Martens ‐ Bush Trails and Squatters’ Runs’, New England Regional Art Museum, 1986, cat no 12, titled ‘H.M.S. Beagle off Mount Sarmiento, c.1836.’
Provenance Philip Parker King, 18 April, 1838.
Lawsons, 27 September 1946, lot 512, titled ‘Mount Sarmiento, Barbara Channel.’
Lawsons, 15 March 1950, cat no 397, titled ‘Mount Sarmiento, Barbara Channel, 1836.’
Christies, Melbourne, 12 March 1971, lot 163, Estate V.W. Newbold of Newcastle, $1000, titled ‘Mt. Sarmiento, Barbara Channel.’
Dr.J. Raven 1973; Christies, Dr. John L. Raven Collection, Sydney, 13 September 1984, lot 92, $9000, titled ‘ off Mount Sarmiento, Tierra Del Fuego, 1838.’
Consolidated Press ‐ reported stolen from Sydney airport, 5 April 1988.
39
Notes
This oil is based on a pencil sketch taken on 9 June 1834 (Beagle Sketchbook IV, f.44; Keynes, op cit., cat no 207), bearing the following inscription
The grand glacier, Mount Sarmiento. The mountain rises to about 3 times the height here seen, but all is here hidden by dark misty clouds ‐ a faint sunny gleam lights the upper part of the glacier, giving its snowy surface a tinge which appears almost of a rose colour by being contrasted with the blue of the icy crags ‐ a faint rainbow was likewise visible to the right of the glacier, but the whole was otherwise very grey & gloomy. June 9 1834.’
A similar pencil sketch entitled ‘Sarmiento, June 10 [1834]’ (Beagle Sketchbook IV, f.48; Keynes, op cit., cat no 214) also bears an inscription
The sky most commonly of a grey composed of blue of snow and lake, and no part darker than necessary to relieve the snow. The water is at times of a fine deep blue, and from the steepness of the shore in general no change of colour is observed.
The above oil is similar to the engraving taken from this sketch by T. Landseer, titled ‘Mount Sarmiento’ and published in Robert Fitzroy’s Narrative, op cit., volume 1, between pp.252‐3; and also A. Moorehead, op cit., p97.
The oil under discussion is most likely the following work noted in Martens’ account book for 18 April 1838:
Mount Sarmiento Terra del., Capt. P.P .King 3.3. paid.
Though this wasn’t the first of Martens’ works to be purchased by Captain King ‐ a former commander of the Beagle ‐ it was the first to contain a South American subject, and remind him of his explorations in the region of Tierra Del Fuego between 1826‐30.
A number of catalogue references to the oil confuse the date of execution, variously giving 1838 or 1836. This is based on a misreading of the label on verso. The oil is one of the first to be painted by Martens in Australia.
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40
No. 14
Title Rushcutters Bay, Sydney, from Darlinghurst [View from Craigend]
Date 1841
Medium Oil on canvas
Dimensions 47 x 66.2cm (18 1/2 x 26in)
Library No. ‐
Subject Group ‐
Dated ‘1841’
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced L. Lindsay, Conrad Martens, The Man and his Art, Angus & Robertson, Sydney, 1920, plate XXV, colour.
Lindsay, op cit., 1968, plate 31, colour.
(NB: This oil painting was incorrectly labelled a watercolour in the 2 editions of Lionel Lindsay’s book on Martens).
Reviews ‐
Exhibition‐
Provenance Mr Justice Brennan, Bowral, 1920.
Notes
The oil is based on the original pencil & watercolour sketch entitled ‘Rushcutters Bay, Sydney, from Darlinghurst 1839’ (ML PXC296 f.4). A similar pencil sketch entitled ‘View from Craigend, April 1841’ (ML PXC971 f.4) is also known, suggesting an alternative title used by Martens for this subject.
Perhaps this oil is the work entitled ‘View from Craigend’ sold by Martens to R. Lethbridge for 15 guineas on 14 January 1841.
The above oil is similar to another entitled ‘A View of Sydney Harbour’ which was sold by the Royal Geographical Society of London in 1979 (refer no.89 this catalogue). Both present a view of Rushcutters Bay from Craigend, the property of Sir Thomas Livingstone Mitchell at Darlinghurst, and look north‐easterly towards Sydney Heads in the distance. The house on the hill to the left may be Craigend Cottage or Waratah.
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41
No. 15
Title Wisemans Ferry [The Hawksbury at Wisemans]
Date 1838
Medium Oil on stretched canvas
Dimensions 47 x 66cm (18 1/2 x 26in)
Library No. ‐
Subject Group Hawkesbury River
Dated ‘1838’
Signed ‐
Inscribed ‐
Collection Art Gallery of New South Wales ‐ bequest of Miss Amy A. Vickery, received by the AGNSW Trustees on 25 September 1942.
Publication A Catalogue of Oil Paintings in the National Gallery of New South Wales, 1875‐1952, National Art Gallery of New South Wales, Sydney, 1953, p143.
Reproduced James Gleeson, Australian Painters, Lansdowne Press, 1976, plate 49, colour
Alan McCulloch, Artists of the Australian Goldrush, Lansdowne Editions, Melbourne, 1977, colour.
Barry Pearce, ‘Conrad Martens ‐ The Traveller Who Stayed’, Hemisphere, Sydney, 1983, p7, colour.
Reviews ‐
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 28.
Provenance Mrs Carter, 1838 Miss Amy AGNSW, 25 September 1942.
Notes
The oil is based on the original pencil sketch ‘View at Wisemans. Augst 6 1838’ (ML SSV*SpColl/Martens/15). The oil is most likely the work entitled ‘The Hawksbury at Wisemans’ sold to Mrs Carter, Conrad Martens’ mother‐in‐law, on 20 September 1838 for £15, and subsequently sent to England. The area around Wisemans Ferry, on the Hawkesbury or Macdonald River, was a popular subject for Martens’ oil paintings between 1838‐40, as it contained many of the standard picturesque elements such as winding mountain passes with rocky ledges, distant mountains, and the river in the central foreground, winding away to infinity. AGNSW note ‐ Slight flaking has occurred at the base of the picture; some crackle and discoloration.
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42
No. 16
Title Pass above Wiseman’s Ferry, Hawkesbury River
Date 1840
Medium Oil on canvas
Dimensions c45.7 x 66.2cm (c18 x 26in)
Library No. DG346
Subject Group ‐
Dated ‘1840’
Signed ‐
Inscribed ‐
Collection Dixson Gallery
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance‐
Notes
This work is based on the original pencil sketch entitled ‘Macdonald River. Augst 8th [1838]’ (DL PX24 f.47).
This large oil could be one of a number depicting road scenes at Wisemans Ferry on the Macdonald River, sold by Martens during 1840. They include
*’View, Wisemans Road’, sold to J.W. Bell Esq for 15 guineas on 24 April.
*’The Macdonald, Wisemans’, sold to Hogue Esq for 15 guineas on 12 September.
*’The Macdonald River, Wisemans Road’, sold to Robert Lethbridge for 15 guineas on 1 December.
Martens also produced a number of smaller works of the same subjects (approx. 13 x 18in), for sale at 8 guineas (refer nos 81 and 82 this catalogue).
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43
No. 17
Title The Vineyard, Parramatta
Date 1840
Medium Oil on canvas
Dimensions 43.3 x 61.5cm inside frame; 54.1 x 73.5cm framed. (17 1/8 x 24 7/8in inside frame; 21 1/4 x 29in framed)
Library No. ML48
Subject Group ‐
Dated ‘1840’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed Titled as above on mount. Title on canvas at back ‘The Vineyard Estate. Subiaco 12.8.39. Near Parramatta’.
Collection Mitchell Library ‐ presented by E.H. Macarthur.
Publication P. McDonald, Painted Panorama, Blaxland Gallery, Sydney, 1987.
Jane de Fable, My Dear Miss Macarthur, Kangaroo Press, Kenthurst, 1988.
David Latta, Lost Glories ‐ A Memorial to Forgotten Australian Buildings, Angus & Robertson, North Ryde, 1986, pp82‐91.
Reproduced , op cit., p63, colour.
Charles Darwin in Australia, Cambridge University Press, Sydney, 1989, colour, p65.
S. de Vries‐Evans, Pioneer Women, Angus & Robertson, North Ryde, 1987 p171, colour.
Anne Robertson, Treasures of the State Library of New South Wales ‐ The Australiana Collections, Collins, Sydney, 1988, p44, colour.
Reviews "In 1839 Martens was commissioned to paint a view of The Vineyard near Parramatta, then owned by Hannibal Hawkins Macarthur. The family were prominent in society of the 1830’s and 1840’s, entertaining lavishly at their residence. Sweeping lawns extended to the Parramatta River while the grounds also contained large cultivated gardens, an orangery and a circular terraced vineyard. The house was taken over as a Benedictine Monastery in 1849 and renamed Subiaco. It was demolished in 1961." (, op cit., p63).
Exhibition ’As We Were’, Mitchell Library, Sydney, December 1977, cat no 34.
‘Painted Panorama’, Blaxland Gallery, Sydney, 1987, cat no 19.
Provenance Mr King, 1840 .
Notes
44
This painting is possibly based on an undated pencil sketch inscribed ‘Vineyard,’ (ML PXC300 f.8).
This oil is most likely the work entitled ‘View of Vineyard, Parramatta’, sold to J. King for 15 guineas on 19 August 1840, though an identical, undated watercolour is also known.
The companion watercolour view is held by the de Fable family, descendants of the Macarthur’s, and is reproduced on the cover of My Dear Miss Macarthur, 1988. A description of the house and its subsequent destruction is given in the books of Jane de Fable and David Latta cited above.
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45
No. 18
Title Island of Moorea (Eimeo), near Tahiti
Date 1840
Medium Oil on canvas
Dimensions 46 x 66.2cm (18 1/8 x 26in)
Library No. DG215
Subject Group
Dated ‘1840’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed Titled as above on back.
Collection Dixson Gallery ‐ presented by Sir William Dixson, June 1933.
Publication The Beagle Record, Cambridge University Press, 1979, cat no 304.
Reproduced‐
Reviews ‐
Exhibition‐
Provenance ? Mr Hogue, 1840 William Dixson, 1933.
Notes
This work is closely associated with the pencil sketch entitled ‘Tahiti from Aporeitu ‐ Moorea’ (ML PXC299 f.14).
The oil is probably the work entitled ‘Moorea, Aporeitu’ sold by Martens to a Mr Hogue Esq for 15 guineas on 29 September 1840. It was immediately despatched to England.
As regards more recent provenance, in the account books kept by Sir William Dixson there is recorded the purchase of an ‘Oil Painting by Martens of Tahiti £75’ from Angus & Robertsons in 1911‐1912. As there are two other Martens oils in the Dixson Gallery and Dixson Library collections with Tahitian subjects (DL27 and DG160) apart from the above work, it is difficult to say which one was purchased from Angus & Robertsons at the time.
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46
No. 19
Title Lake Canobolas near Orange
Date 1840
Medium Oil on canvas
Dimensions 34 x 59.5cm (13 3/8 x 23 3/8in)
Library No. ‐
Subject Group ‐
Dated ‘1840’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Private
Publication‐
Reproduced Leonard Joel, November 1978, cat no 278, b/w; Leonard Joel, 3 November 1982, cat no 850, b/w.
Reviews ‐
Exhibition‐
Provenance Leonard Joel, November 1978, cat no 278, $6500 ; Leonard Joel, 3 November 1982, cat no 850; Leonard Joel, November 1986, $12000.
Notes
The authors are unable to identify this view. There is no record of Martens ever visiting a ‘Lake Canabolas near Orange’, and the only lake views he took prior to 1840 were of Lake Illawarra, on the New South Wales south coast, and Las Frietas Lake, Rio Janeiro.
Possible subjects/location of this view include:
* Scotch Lake Scene, 1847 exhibition, lot 56.
*View on the Macquarie, Account of Pictures, 1841.
*’View on Lake Macquarie, 1841’, 1897 exhibition.
It is also possible that this is a view of a western New South Wales property such as Coomting, or Nanama, Wellington.
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47
No. 20
Title Sydney and Botany Bay from North Shore
Date 1840
Medium Oil on canvas
Dimensions 45.7 x 64.8cm inside frame (18 x 25 1/2in inside frame; c.25 3/4 x 34in framed).
Library No. DG216
Subject Group Sydney Harbour
Dated ‘1840’ l.r.
Signed ‘C.Martens, Sydney’ l.r.
Inscribed Title as above from mount.
Collection Dixson Gallery ‐ presented by Sir William Dixson, March 1943.
Publication‐
Reproduced , The Art of Conrad Martens, Macmillan, 1980, p66, b/w.
, Painted Panorama, Blaxland Gallery, p65, colour.
Reviews "....It was largely because of his interest in atmospheric effects and his largesse of vision that Sydney provided a fitting subject for his brush. His most successful medium was watercolour and his excursions into oil, with few exceptions, show up his inability to define his landscape forms. For instance his oil painting ‘Sydney and Botany Bay from North Shore’, of 1840, reveals that he was applying his oils in a watercolour technique with a very fluid and thin application of paint. His tones merge and flow like the washes of a watercolour. In works like this he achieves some of the breadth of Turner but with none of the detail or the interest in surface texture." (Helen Topliss, ‘Conrad Martens at Observatory Hill’, Art and Australia, Volume 16, 1979).
"....’Sydney and Botany Bay from North Shore’ 1840 is an oil painted before the Martens family settled at St. Leonards. The artist was obviously familiarizing himself with the pictorial possibilities of the area when this painting was produced. It has been built up into a carefully considered composition using typically Australian tree forms and rock masses in the three main areas of the foreground, separated from each other by the typically Martens formula of opposing brilliant lights against shadowy darks. In this way a lively pattern has been created from material which, in the subject itself, probably lacked much variety. In the painting we find reminiscences of English skies, but he was determined to create something out of the typical Australian landscape, while still relating it to the picturesque ideal." (, op cit., pp22‐3).
‘Sydney & Botany Bay ‐ This large oil painting was executed before Martens moved to the North Shore with his wife and two daughters. In his usual manner, interest is focused on the carefully composed foreground and allows only a partial glimpse of the city and its further environs. This work may have been commissioned by one of martens’ wealthy clients either for a local private collection or to be sent back to England. In his publication on Martens, Douglas Dundas says of this work "In the painting, we find reminiscences of English skies, but (Martens) was determined to create something out of the typical Australian landscape, while still relating it to the picturesque ideal". ‘ (, op cit., p64). 48
Exhibition ’Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 31.
‘Painted Panorama’, Blaxland Gallery, Sydney, 1987, cat no 20.
Provenance Sir William Dixson, 1943.
Notes
This work is most likely one of four views of ‘Sydney from the North Shore’ sold by Martens during 1840, namely
*’View Sydney from N.Shore’, sold to W. Icely for 15 guineas on 8 February.
*’Sydney from N.Shore’ sold to Egleston Esq for 15 guineas on 17 June 1840.
*’Sydney from N.Shore’ sold to A. McGaa Esq for 15 guineas on 2 September 1840.
*’Sydney from N.Shore’ sold to John Edwards Esq for 15 guineas on 9 November 1840.
At the time, 15 guineas was the going price for an 18 x 26" oil painting, however without more detailed provenance information it is impossible to further identify this work. Refer also to nos. 21 & 86 this catalogue.
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49
No. 21
Title Sydney from the North Shore
Date [c.1840]
Medium Oil
Dimensions 45.7 x 65cm (18 x 25 1/2in) inside frame
Library No. ML103
Subject Group
Dated ‐
Signed ‐
Inscribed Titled as above from brass label on frame.
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance‐
Notes
This work was dated by the Mitchell Library after comparison with DG216 (dated 1840), DG62 (dated 1841), and a photo in the Small Picture File (SPF) of a similar view dated 1837 offered to the Mitchell Library by F.T. Sabin in 1952.
This oil is possibly one of the following views of Sydney from the North Shore sold by Martens during 1840
*’View Sydney from N.Shore’, sold to W. Icely for 15 guineas on 8 February.
*’Sydney from N.Shore’ sold to Egleston Esq for 15 guineas on 17 June 1840.
*’Sydney from N.Shore’ sold to Esq for 15 guineas on 2 September 1840.
*’Sydney from N.Shore’ sold to John Edwards Esq for 15 guineas on 9 November 1840.
Without more detailed provenance information it is impossible to further identify this work. Refer also to nos. 20 86 this catalogue.
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50
No. 22
Title View from Vaucluse [Vaucluse from the Hill]
Date 1841
Medium Oil on canvas
Dimensions 41.2 x 57.6cm inside frame; 56 x 72.9cm framed. (16 1/4 x 22 5/8in inside frame; 22 x 28 3/4in framed).
Library No. DG159
Dated ‘1841’ on mount
Signed ‐
Inscribed Titled as above on mount
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication ’Vaucluse House’, Historic Houses, Australian Council of National Trusts, Canberra, 1982.
Vaucluse House, Historic Houses Trust of New South Wales, Sydney, 1982.
Reproduced Vaucluse House, op cit., cover (detail), colour.
Reviews ‐
Exhibition‐
Provenance Sir William Dixson, 1929.
Notes
This work is based on the original pencil sketch entitled ‘Vaucluse from the Road Oct 30./40’ (DG*D19 f.19). Martens had produced a pencil sketch of Vaucluse House from the harbour the previous day, on 29 October 1840. The oil could be one of the following two works sold by Martens during 1841:
* June 30 Vaucluse from the Hill W. Wentworth £12.12. * July 8 Vaucluse from the Hill S. Donaldson £15.15.
As a number of Martens paintings in the Wentworth collection were destroyed by a fire at ‘Greycliffe’ in 1893 (refer no 51 this catalogue), it is possible that the above oil is the one purchased by. The view looks west from the hill behind Vaucluse, up Port Jackson towards Sydney. The rear of Vaucluse House is seen in the central foreground with Vaucluse Point and Bottle & Glass Rocks just beyond, to the right. Vaucluse Bay is also to the right. William Charles Wentworth (1790‐1872) was the owner of Vaucluse at the time this painting was done. Wentworth had purchased Vaucluse in 1827 and in the late 1830’s carried out extensive renovations. Stuart Alexander Donaldson (1812‐1867) was a merchant and pastoralist, and part of the ‘exclusive’ circle at the Macarthurs Vineyard and Camden estates in the late 1830’s and early 1840’s. He later became the first Premier of New South Wales and was a political ally of Wentworth. This was the first work he purchased from the artist, though not the last. Martens also sold a work entitled ‘View from above Vaucluse’ to William Brown on 12 February 1856 for 20 guineas ‐ refer no 61 this catalogue. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
51
No. 23
Title Government House [New Government House]
Date 1841
Medium Oil on canvas
Dimensions 47 x 64.8cm / (18 1/2 x 25 1/2in)
Library No. DG55
Subject Group Stables
Dated ‘1841’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed Label on back reads ‘Gov. Hse & Stables’. This refers to the pair DG51 & DG55, and Stables is meant for DG51.
Collection Dixson Gallery.
Publication P.L. Reynolds, Legislative Architecture in New South Wales, New South Wales Parliament, Sydney, 1976.
James Broadbent, Colonial Gothick, Elizabeth Bay House Trust, Sydney, 1979.
‘Government House, Sydney’, Historic Buildings, Australian Council of National Trusts, Canberra, 1984.
Reproduced Joan Kerr & James Broadbent, Gothick Taste in the Colony of New South Wales, David Ell Press, Sydney, 1980, plate 29, colour.
Postcard (PC55), State Library of New South Wales, n.d., colour.
Reviews "This view shows Martens in his most Claudean mood, only the picturesque objects in the painting are castellated modern buildings instead of ancient Roman temples. Framing the picture on one side with part of a ruin or temple and on the other side a grove of trees with animals grazing, was an absolutely standard late eighteenth century Picturesque technique persisting well into the nineteenth. Even the broken column of the Claudean foreground is paralleled by a fallen block of masonry with vegetation growing over it. The dark brown tones ‘like an old violin’ were also a Picturesque formula in the early nineteenth century." (Broadbent, op cit., pp53‐4).
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 37.
‘Colonial Gothick’, Elizabeth Bay House, 1979, item 65, titled ‘View of Government House from the Stables’.
Provenance Sir George Gipps, 1841.
Notes
52
This work is based on the pencil sketch ‘New Government House, Sept 4th 41’ (ML PXC295 f.25).
The oil painting is the work entitled ‘New Government House’ sold to the Governor, Sir George Gipps, for 15 guineas on 28 October 1841. A companion work entitled ‘Old Government House’, also in oil, was sold to the Governor on 21 January 1842 (refer no 27 this catalogue).
Though begun in 1837, this building ‐ Sydney’s third Government House ‐ was not finally completed and habitable until June 1845, though its exterior was largely finished by the time Martens took his pencil sketch in 1841.
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53
No. 24
Title Rose Bay [View above Rose Bay]
Date 1841
Medium Oil on canvas
Dimensions 45.7 x 65cm inside frame; 62.1 x 82.4cm framed. (18 x 25 1/2in) inside frame; (24 1/2 x 32 1/2in) framed.
Library No. DG59
Subject Group
Dated ‘1841’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed Title from mount
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication‐
Reproduced Rex Reinits (ed.), Australia’s Heritage ‐ The Making of a Nation, Paul Hamlyn, Sydney, 1971, p988‐9, colour.
‘Vaucluse House’, The Australian Antique Collector, No.15, Randwick, 1974, p56, colour.
Reviews "Oil painting of Rose Bay from Vaucluse by Conrad Martens showing Point Piper with Captain Piper’s Henrietta Villa in the background...... Sydney Harbour was one of his favourite subjects, and this is how it looked in Wentworth’s time. The painting is very characteristic of Martens with the dark foreground highlighted with white touches of foliage, trees, or figures." (Australian Antique Collector, op cit., p56).
Exhibition Vaucluse House, Sydney, 1974.
‘Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 33.
Provenance Sir George Gipps, 1841 Sir William Dixson, 1929.
Notes
This work is based on the pencil sketch ‘Rose Bay, Port Jackson, Nov 12th/41’ (DL PX24 f.63). This oil is most likely the work entitled ‘View above Rose Bay’ sold to the Governor, Sir George Gipps, for 15 guineas on 30 November 1841.
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54
No. 25
Title Sydney from St Leonards
Date November 1841
Medium Oil on canvas
Dimensions 47.3 x 66.2cm (18 5/8 x 26in)
Library No. DG62
Subject Group Aborigine, Figure, Gun
Dated ‘1841’ l.l. in paint; ‘Novr 1841’ in ink on back of canvas.
Signed ‘C.Martens’ l.l.
Inscribed Titled ‘Sydney from St Leonards, Novr. 1841’ in ink on back of canvas.
Collection Dixson Gallery ‐ presented by Sir William Dixson, 21 October 1929.
Publication‐
Reproduced Lionel Lindsay, Conrad Martens ‐ The Man and His Art, Angus & Robertson, 1920, plate VIII, colour.
, ibid, 1968, plate 11, colour.
, Painted Panorama, Blaxland Gallery, 1987, p11, b/w.
Reviews ‐
Exhibition ’Painted Panorama’, Blaxland Gallery, Sydney, 1987, cat no 21.
Provenance Sir George Gipps, 1841 Sir William Dixson, 1929.
Notes
This work is based on the pencil sketch ‘Sydney from N.Shore. Nov 1 1841’ (DL PX24 f.62) which also includes the inscription ‘Lavender Bay’. The oil is most likely the work entitled ‘Sydney from St Leonards’ sold to the Governor, Sir George Gipps, for 15 guineas on 14 November 1841. This is an almost identical view to Martens’ ‘Sydney from the North Shore, 1842’ lithograph of 1843. The house on the point (Kirribilli Point) in the foreground was the residence of a Mr Travers and was subsequently acquired by the Commonwealth Government. It is now known as Admiralty House, and is the official Sydney residence for the Prime Minister of Australia (, op cit., p68).Mitchell Library note:
‘Either this painting or that now hanging as ML103 cleaned by Hall Ap. 1948. Apparently returned to wrong frame & hung as ML103 until 1967 when error discovered as the painting hung in frame numbered 103 was clearly marked on the stretcher frame 62. MS. Cat of ML Pictures 1904‐6 lists Martens, C ‐ Sydney from North Shore. Oil. DG Acc. book records under date 21 Oct 1929 Martens ‐ Sydney from the North Shore 1841. Rec at 1967.’
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55
No. 26
Title The Harbour of Papiete, Island of Tahiti
Date 1841
Medium Oil on board
Dimensions 33.3 x 48.3cm (13 1/8 x 19in) across stretcher. Framed with gilt cardboard mat.
Library No. DL27
Subject Group Papeete
Dated ‘1841’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed Titled as above on back.
Collection Dixson Library
Publication R.D.Keynes The Beagle Record, Cambridge University Press, 1979, cat no 305.
Reproduced D.Dundas, The Art of Conrad Martens, Macmillan, Melbourne, 1979, p37, colour.
Reviews ‘....The Harbour of Papeete, Island of Tahiti c1841. Martens painted a watercolour of this subject dated 1835. Whether it was done during the latter part of his stay there, or on his arrival in Sydney, is not certain. However, if the date attributed to the oil painting in the Dixson Library is correct, then it was painted in Australia from material he had brought with him.’ (, op cit., p25).
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 12.
Provenance Sir William Dixson.
Notes
Based on the pencil sketch ‘Part of Papieti Harbour, Island of Tahiti, Feby 27 1835’ (ML PXC294 f.11).
The oil is most likely the work entitled ‘Harbour of Papiete, Tahiti’ sold to J.Bell for 8 guineas on 26 January 1841.
‘J.Bell’ refers to one of the three sons of the pioneer Archibald Bell (1773‐1837), namely William (1797‐1862), Archibald (1804‐1883) or James (1813‐1861). During the two years 1840‐41 he/they purchased 12 major works from Martens, to the value of 141 guineas.
In the account books kept by Sir William Dixson, he records the purchase of an ‘Oil Painting by Martens of Tahiti £75’ from Angus & Robertsons in 1911‐1912. As there are two other Martens oils in the Dixson Gallery and Dixson Library collections with Tahitian subjects (DG160 and DG215) apart from the above work, it is difficult to say which one was purchased from Angus & Robertsons.
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56
No. 27
Title Sydney Cove [View of Old Government House]
Date 1842
Medium Oil on canvas
Dimensions 45.7 x 63.5cm (18 x 26in)
Library No. DG65
Subject Group
Dated ‘1842’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed Title from mount
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication Rollo Gillespie, Viceregal Quarters, Angus & Robertson, Sydney.
Reproduced P. McDonald, Painted Panorama, Blaxland Gallery, 1987, p61, colour.
Reviews "This work is far more majestic and sombre in tone than Martens’ other oil paintings of the same title [i.e. Sydney Cove]. The foreground is dominated by a stepped, rocky outcrop which partially frames the view while the small group of figures signifies man’s relation with nature. On the right a tall‐masted wool clipper rides at anchor and another vessel is beached behind. The scene, however, has none of the bustle and activity normally depicted in colonial marine paintings. It is interesting to compare this work with Peacock’s view of the same area (Custom House and New Circular Wharf), executed three years later. The two‐storied building shown in the middle distance is First Government House, which still had extensive water views at this time. Subsequently, ten acres of tidal mudflats along this part of the foreshore were reclaimed for commercial and public use." (McDonald, op cit., p60).
Exhibition ’Painted Panorama’, Blaxland Gallery, Sydney, 1987, cat no 26.
Provenance Sir George Gipps, 1842; Sir William Dixson, 1929.
Notes
Based on the pencil sketch ‘Government House. May 8./38’ (DL PX24 f.31). This oil painting is most likely the work variously entitled "Old Government House" and "View of Old Govt. House, 26 x 18" sold by Martens to The Governor, Sir George Gipps, on 21 January 1842 for 15 guineas. It is a companion work to another oil entitled ‘New Government House’ purchased by the Governor in October 1841 (refer no 23 this catalogue). The view looks south, from the eastern side of Sydney Cove (Circular Quay) towards the old Government House, near present‐day Bridge and Philip Streets. This building was actually the second Government House, the first being a temporary timber and canvas structure erected just to the west of it in 1788. The beached cutter in the original pencil sketch has been replaced by a majestic naval vessel at anchor.
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57
No. 28
Title Government House Stables
Date 1841
Medium Oil on canvas
Dimensions 47 x 64.8cm (18 1/2 x 25 1/2in)
Library No. DG51
Subject Group
Dated ‘1842’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication Joan Kerr & James Broadbent, Gothick Taste in the Colony of New South Wales, David Ell Press, Sydney, 1980.
Reproduced D.Dundas, The Art of Conrad Martens, Macmillan, Melbourne, p67, b/w.
Reviews "In the following year he painted ‘Government House Stables’ 1842, later to become Sydney’s Conservatorium of Music. Faced with the towers and crenellations of old world architecture, he allows himself to forget his new surroundings and creates a park‐like setting of trees and mysterious shadows. But the Sydney light prevails in the upper half of the painting and the illusion is dispelled." (, op cit., pp26‐7).
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 39.
Provenance Sir George Gipps, 1842; Sir William Dixson, 1929.
Notes
Based on the pencil sketch ‘Government Stables. Dec 29th 1841’ (ML PXC295 f.20).
The oil is the work entitled ‘Government Stables’ sold to the Governor, Sir George Gipps, for 15 guineas on 31 January 1842.
Mitchell Library note: Was formerly labelled ‘Government House’ through a misunderstanding. Label on back of paintings for pair DG51 and DG55 reads ‘Government House and Stables’ meaning DG55 is Gov. House and DG51 is Government House Stables.
Studies for the cavalryman in this work are located in Martens’ sketchbook at DL PX15.
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58
No. 29
Title Sydney Cove [View from the Window]
Date 1842
Medium Oil on canvas
Dimensions 30.5 x 79.4cm (12 x 31 1/4in inside frame; 20 x 38 1/2in framed).
Library No. DG41
Subject Group Fort Macquarie, Government House, Stables, Garden Island, Ships
Dated Dated from mount
Signed ‐
Inscribed Title from mount
Collection Dixson Gallery
Publication‐
Reproduced Lionel Lindsay, Conrad Martens ‐ The Man and His Art, Angus & Robertson, 1920, plate IV, colour.
‐‐‐‐‐, ibid, 1968, plate 25, colour.
Rex Reinits (ed.), Australia’s Heritage ‐ The Making of a Nation, Paul Hamlyn, Sydney, 1971, p988‐9, colour.
P. McDonald, Painted Panorama, Blaxland Gallery, 1987, p58, b/w, and p59 (detail) colour.
Reviews "His greatest success in oils is the panel of Sydney Cove, charming in colour and filled with atmosphere. The slightness of scale has helped him here. As the panel is mainly concerned with the middle distance, he has no near difficulties to contend with, and his technical knowledge suffices for his purpose. here are no spaces empty of interest; the small quantity of colour opposed in the pictorial forms embodied is the reason of its success; expanded to a larger canvas it would have been empty and thin." (Lionel Lindsay, op cit., 1920, p28).
"Having said that Martens was not really a successful painter in oils one should admit that there are a few examples which reveal that he was not totally incapable. This exhibition does present a couple of works in oil where he seems to emerge from a more generalized view of nature in the copy‐book style, to a more specific account which seems to reflect a direct experience. One of the most interesting works in this exhibition is the oil painting, Sydney Cove, of 1842, from the Dixson Galleries. it is in a work like this that one glimpses Martens in a special mood. The picture combines both genre and landscape in the manner of Turner, albeit in a less realist vein. Facing the viewer in the foreground is a group of cottages with washing hanging in their backyards and, next to them, figures of women and children. The riggings of ships juxtaposed with roof lines completes the composition which is an unusually strong one for Martens. The application of paint in this work is much more lively than in most of his other works; passages, like the left‐hand foreground, which contain impasto touches of pure colour give cohesion to the surface of the painting. The application of paint and the pink / mauve tonality is more than reminiscent 59
of Tom Roberts’s and Arthur Streeton’s Sydney landscapes some fifty years later. It is likely that Roberts and Streeton saw work by Martens in the Art Gallery of New South Wales (the first picture commissioned by that Gallery, in 1874, was one by Martens). Surely something of his romantic, rose‐coloured view of Sydney and its coastline is translated into works like Roberts’s Coogee." (Helen Topliss, ‘Conrad Martens at Observatory Hill’, Art and Australia, Volume 16, 1979).
"....’Sydney Cove’ 1842 is fascinating in that it makes us aware of the changes wrought by the century and a half since Martens painted the view from his vantage point in the Rocks area. Looking over the roofs of modest 19th century buildings, he saw a relatively bare eastern shore with Government House proudly dominating the point. Today, multi‐storey buildings flank the road leading to the spectacular curves of Utzon’s Opera House. ‘Sydney Cove’ is significant, not only for its historical interest but for its artistic qualities ‐ its dignified composition, its beautifully adjusted tonal values and its clarity of atmosphere. These are qualities which Streeton, more than half a century later, was to rediscover and explore in his interpretation of the Sydney scene." (, op cit., pp22‐3).
"Soon after arrival Martens painted a number of views around the Circular Quay area of Sydney. He was then living in nearby Cumberland Street so his attraction to the subject is understandable. This view, described by Lionel Lindsay as Martens’ "greatest success in oil", was apparently painted from the same vantage point. The foreground suggests a sleepy fishing village rather than the den of iniquity normally associated with the district. On the left there is a thatched roof shed while the central section focuses on two early houses and the ubiquitous line of washing. The Commissariat Store can be seen on the right and the partially obscure roofline belongs to Wharf House, erected for Robert Campbell in 1803. Across the water Martens has depicted a number of important buildings, including Fort Macquarie, New Government House (still uncompleted), Government House Stables, Parbury Castle and First Government House." (, op cit., p58).
Exhibition ’Our Origins ‐ From Penal Camp to Parliament’, Mitchell Library, Sydney, 1973, cat no 172.
‘Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 42.
‘Painted Panorama’, Blaxland Gallery, Sydney, 1987, cat no 25.
Provenance Presented by Sir William Dixson, 1929.
Notes
During 1842‐3 Martens sold three works entitled ‘View from the Window’, referring to the view from the window of his residence in Cumberland Street, the Rocks (then known as Bunkers Hill), of which this oil is one. They were sold for 12 guineas each to
*The Governor, Sir George Gipps, on 26 September 1842.
*M.D.Hunter, on 13 November 1842.
*Captain John Lort Stokes, on 20 January 1843.
One of the companion works is presently in the collection of the National Library of Australia (refer no.55 this catalogue), and as both are dated ‘1842’ it is impossible to differentiate between the two, due to insufficient providential information.
Martens was a resident of Cumberland Street, The Rocks between about 1840 and 1844. From 1835 until about 1840 his studio was located above G.W.Evans’s bookstore in Bridge Street. In 1844 he and his family moved to their property on the north shore at St Leonards. 60
This then spectacular view from Cumberland Street looked out across Sydney Cove towards the far off Heads of Sydney Harbour.
Of the three purchasers of ‘View from the Window’ we have identified two, namely Sir George Gipps and Captain Stokes. Mr M.D.Hunter is yet to be identified.
Sir George Gipps (1791‐1847) was Governor of New South Wales from October 1837 until July 1846. He left Australia a sick man in 1846, and died the following year in England. Sir George and Lady Gipps were prominent patrons of the Colonial arts and purchased a large number of works ‐ mostly in oil ‐ from Martens during 1841‐42, possibly to grace the new Government House at Sydney, then near completion.
Captain John Lort Stokes (1812‐1885) was the ?fourth commander of the H.M.S Beagle (after P.P .King, Robert FitzRoy and J.C.Wickham), having served on the ship for 18 years (1824‐42), including the period Martens was aboard. Between December 1837 and 1842 the Beagle was involved in survey work around the Australian coastline, and was based at Sydney Harbour. The above oil painting was probably commissioned just prior to the beagle’s return to England.
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61
No. 30
Title Governor Bourke’s Statue, overlooking the harbour [View, Harbour & Statue]
Date 1842
Medium Oil on canvas
Dimensions 43.6 x 61.1cm (17 1/8 x 24 1/8in)
Library No. ML99
Subject Group
Dated ‘1842’
Signed ‐
Inscribed Title from label
Collection Mitchell Library ‐ presented by T.L.Devitt to the National Art Gallery of New South Wales in 1891, and transferred to the Mitchell Library on 2 March 1926.
Publication Illustrated Catalogue, National Art Gallery of New South Wales, Sydney, 1908.
A Catalogue of Oil Paintings in the National Art Gallery of New South Wales, 1875‐1952, National Art Gallery of New South Wales, 1953.
Reproduced Douglas Dundas, The Art of Conrad Martens, Macmillan, Melbourne, 1979, p41, colour, and rear of dustjacket, colour.
Reviews "In the same year, 1842, he painted ‘Governor Bourke’s Statue, Overlooking the harbour’. This extremely factual oil painting may come as a surprise to many present day viewers who are familiar only with the statue tucked in alongside the Mitchell Library. A surprise, too, because the rendering is so ‘straight’, devoid of any of the picturesque ‘devices’ we associate with Martens, but with great sense of space and scale." (Dundas, op cit., p22).
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 40.
Provenance P.H.Flower, 1842; T.L.Devitt, 1891; National Art Gallery of New South Wales, 1891; Mitchell Library, 2 March 1926.
Notes
Whilst an original pencil sketch of this view has not been located, the oil is most likely the work entitled ‘View, Harbour & Statue’ sold to P.H.Flower for 15 guineas on 27 June 1842.
Later variations of this work include
*’Studies of Statue of Sir Richard Bourke’, n.d., pencil sketches (DL PX19).
*’Statue of Sir Richard Bourke K.C.B. Sydney 1847’, pencil and wash sketch (DL PX25 f.36). Reproduced in Lindsay, 1920, plate XLV, and ibid., 1968, plate 55.
62
*’Entrance to the Domain, Sydney 1848’, watercolour, (ML SV* SpColl/Martens/6).
*’Statue of Sir Richard Bourke (Entrance to Domain)’, lithograph, 1850.
*’Sketch in tint for engraving of Bourkes Monument, Domain. Size 14 1/2 x 10 upon 1/2 imperial’ for a Mr Mathieson, September 1854, present whereabouts unknown.
Unlike so many other early Governors of the Colony, Richard Bourke was actually well‐liked, and when he sailed from Sydney on 5 December 1837 a subscription list was immediately got up for the erection of a memorial statue in his honour. The eventual statue was executed by E.H.Bailey, R.A. and erected near the entrance to the Domain, fronting Macquarie Street. It faced north and commandered a spectacular view, looking across Sydney Harbour and the Government Stables to the north shore. It is in this position in Martens’ oil, and is presently located on the north‐west corner of the Mitchell Library building.
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63
No. 31
Title Near Blackheath [King George’s Mount from the Bathurst Road]
Date 1848
Medium Oil on canvas
Dimensions 46.3 x 64.3cm inside frame; 62.4 x 70.8cm framed. (18 1/4 x 25 1/4in inside frame; 24 1/2 x 28in framed).
Library No. ML106
Subject Group Blue Mountains
Dated Dated from plague on frame.
Signed ‐
Inscribed Titled as above from plague on frame.
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’Society for the Promotion of the Fine Arts in Australia ‐ Second Exhibition’, Sydney, 1849, cat no 367, titled ‘View on the Bathurst Road, King George’s Mount.’
‘The Blue Mountains’, S.H. Ervin Museum and Art Gallery, 1982, cat no 36, titled ‘Near Blackheath’.
Provenance William Fanning, 1849.
Notes
This oil is based on the pencil sketch ‘King George’s Mount from the Bathurst Road May 22.38’ (DLPX24 f.35).
This oil is very likely the work entitled ‘King Georges Mount from the Bathurst Road’ sold on 7 August 1849 at an art union held at Sydney in conjunction with the 1849 exhibition of the Society for the Promotion of the Fine Arts in Australia. The painting was won by William Fanning.
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64
No. 32
Title Illawarra [Brush Scene, Brisbane Water]
Date 1848
Medium Oil on canvas
Dimensions 73.7 x 62.2cm (29 x 24 1/2in) inside frame; 35 1/4 x 31 1/2 framed.
Library No. DG165
Subject Group Aborigines
Dated ‘1848’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed Title from mount
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication‐
Reproduced R.Cameron, Australia ‐ History and Horizons, 1971, p149, b/w.
Douglas Dundas, The Art of Conrad Martens, Macmillan, Melbourne, 1979, p71, b/w.
Reviews ‐
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 54.
Provenance John Brown, 1848; Sir William Dixson, 1926.
Notes
This is most likely the work entitled ‘Brush Scene, Brisbane Water. 30 inch by 25 oil’ raffled by Martens for £20 on 4 July 1848, and won by John Brown.
Though currently titled ‘Illawarra’, this scene incorporates subjects from pencil sketches taken by Martens at both Illawarra and Brisbane Water in 1835. The massive figtree, palms, and rainforest‐type canopy was typical of Illawarra when he visited it in July 1835, and is recorded in sketches such as ‘Figtree at Illawarra. July 11./35’ (ML PXC389 f.11) and ‘Fern tree, Illawarra July 16/35’ (ML PXC389 f.17); whilst the fern in the central foreground is based on a pencil sketch entitled ‘Wyoming, Brisbane Water Sep 10.35’ (ML PXC389 f.19). There is therefore justification in titling this work ‘Illawarra’, though ‘Brush Scene, Brisbane Water’ was allocated by Martens and is preferred.
In the account books kept by Sir William Dixson, he records the purchase of ‘Martens Oil Paintings ‐ Illawarra £110’ from Angus & Robertsons on 4 January 1926. This possibly refers to the above work.
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65
No. 33
Title Sydney from Crows Nest [View of Sydney from St Leonards]
Date 1851
Medium Oil on canvas
Dimensions 75.3 x 105.4cm inside frame; 102.5 x 132cm framed. (30 x 42in inside frame).
Library No. DG320
Subject Group ‐
Dated ‘1851’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed Titled from plague.
Collection Dixson Gallery ‐ presented by Sir William Dixson, July‐August 1934.
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’Jubilee Exhibition of Australian Art’, Art Gallery of New South Wales, 1951, cat no 46.
Provenance James Levick, 1851; Sir William Dixson, July‐August 1934.
Notes
This oil is based on the pencil sketch ‘Sydney from St Leonards Jany 15 1851’ (ML PXC299 f.1).
This painting is the work entitled ‘View of Sydney from St Leonards, oil, size 42 inches by 30’ sold to James Levick for 30 guineas on 14 February 1851. Levick, a former resident of Sydney and friend of the artist living at the time in England, had commissioned Martens to produce this work, according to information contained in letters between Martens and his brother Henry, Octavius Mitchell, and Levick himself.
Martens initially describes the circumstances surrounding the painting of this work in a letter to his brother Henry, noting how it was executed in collaboration with the visiting English artist Marshall Claxton (refer Kerr, 1984, op cit.). Relevant extracts of this letter are produced as follows, from Dixson Library MSQ313, Item 1, pp8‐9:
Hy. Martens. Per Blackwall" March 18/51.
Dear Brother,
Immediately after the despatch of my last letter to you dated Sept. 13/50 the arrival of Mr. Marshall Claxton was duly announced in the Sydney paper and you may easily suppose I lost no time in making acquaintance with him. He said I was the very man he wished to see. Roberson had told him I was the only artist here. "And so you are brother to battle Martin as we call him". His wife has two brothers settled in this country and himself is inclined to try what may be done 66
with the Sydney people. He brings out with him a good commission from Miss Burdett Coutts, a picture of the dimensions of 18 feet by 12 for a school house of her building somewhere in England. He is to have 500 guis. for it. The subject is Christ blessing little children. This is the chief thing that he is at present engaged upon. Of course he hails for a portrait painter but I have not seen enough yet to form a decided opinion as to his talent in that way, altho’ I feel convinced that he has much knowledge of art in grouping and drawing the figure. He has a wife and two daughters about the age of ours. I sincerely hope we may always be on friendly terms. He has already been of some use to me. It so happened that I had received a commission from England to paint a work with him so of course I gladly availed myself of the offer and have learned some good dodges in the way of laying on the color. Tho’ we have occasionally great arguments about the necessity of preserving the character and true delineation of the trees, plants, &c in the landscapes of this country, a point which I have ever considered of great consequence so long as it does not amount to absolute servility. He has studied the old masters, I think, a good deal and says that "Ruskin is a humbug". Since I commenced this letter the picture has been finished and packed to go by the "Blackwall", and I have availed myself of the permission to place in the same case a picture for you. The gentleman to whom it is going is Mr. James Levick formerly of Sydney. A very kind friend whose departure we have much cause to regret. I intended to have sent you by the same conveyance a set of my lithog. sketches but as they were unfortunately not tied up along with the picture, but sent a day or two after to Mr. Levick’s agent in Sydney, the case was soldered up before they were included. I must therefore send them by another opportunity. Mr. Stephens, I understand, will return to England by the Blackwall, and a poor account he must necessarily give of the state of arts in N.S.Wales. He has had hard work, and only by dint of raffling and puffing, to get rid of the pictures he brought out with him, and my opinion is that he will congratulate himself when he gets safe back to England if he finds he is not minus any very considerable sum besides his time and pictures. I should much like to know how Claxton stands at home among his brother artists and with the public. I can see nothing in the Art Union Journal but a few meagre criticisms upon a few pictures besides an account of his affair with the United Service Club about their requesting him to take back a picture ‐ The Burial of Sir John Moore ‐ which he had presented to them. He will certainly find it an awkward job to send home a freshly painted picture measuring upwards of 18 feet by 12. He has never told me why he did not prefer to execute the commission before he left England. Neither do I like to ask him, for I find both him and his wife most extraordinarily tenacious and thin skinned upon all things that may, in the remotest degree, affect his credit as an artist."
Martens also refers to the work in an undated letter to his client ‐ James Levick. It is possible this letter was sent with the painting to England via the Blackwall, as was the previous letter:
To James Levick Esq.
My Dear Mr. Levick,
As soon as I received thro’ Mr. Piper your proposal about painting a picture of Sydney I requested him to communicate to you my willingness to execute the same and the pleasure I felt by your thus giving me proof of your kind recollection of me. I immediately set about it and opportunity having fortunately occurred at that time of painting it under the inspection of an artist (of) known reputation in London, Mr. Marshall Claxton, who had just arrived in Sydney. It has been much approved by those who have seen it. These however have been fewer than I wished because the opportunity of sending to you occurred at a short interval of time after its completion. I am tolerably well pleased with it myself and I am now only anxious to hear it meets your approval. This I need scarcely say would give most pleasure by coming from yourself direct, if you do not think it too much trouble to write me a few lines. I have with the consent of Mr. Piper taken the advantage of your case to enclose a picture for my brother ‐ which I have promised him. I will direct him to call upon you for it and he will thus, 67
at the same time, have an opportunity of becoming acquainted with those of my friends whose departure from these shores both Mrs. Martens as well as myself have not ceased to regret. With kind regards to Mrs.Levick Believe me My Dear Mr.Levick Very sincerely yours C.M.
My brother’s address, if it should happen that you require it, is or was 73 Stanhope Street Regents Park."
This commission came at an opportune time for Martens, as he notes in a letter of 5 April 1851, to his friend James Mitchell, of Hobart:
"....I touched ground last week when I went to the bank for the weekly supply. This indeed would have been the case some time since had I not just in time received an order from England for a 30 guinea picture which I have just sent off..."
In his ‘Notes on Painting’ (DL MS142, p80), Martens makes the following remarks re the painting of this picture
Jany 18th [1851] Memo ‐ Picture begun for Mr Levick
painted with Claxton
color of canvas yellowish white
Sky. large masses of clouds with pure azure between. ‐ time ‐ 5 oclock, afternoon looking S.E.
First lay. Blue black and white over all coming down into much white with a little vermillion;
Second. French ultramarine with white and a little vermiln leaving shadows of clouds and wiping off the blue, with the palette knife, for small clouds of a low tone, and impasting with white and vermillion the lighter ones. ‐ a few touches for dark and wild cirrus......
This work is one of the most light and airy of all Martens’ oil paintings.
Mitchell Library note:
‘Painting was lent to the Jubilee Exhibition of Australian Art, 1951. It was badly damaged on the way to the Art Gallery and was repaired at the Gallery. It was further damaged by travelling and returned to restorer Nov. 1954. Extensive restoration was later carried out in ML and completed 1972.’
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68
No. 34
Title Old Government House, Melbourne, in 1843 [Jolimont, Melbourne]
Date [1860]
Medium Oil on canvas
Dimensions 49.6 x 63.7cm (19 1/2 x 25in)
Library No. ‐
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection La Trobe Library.
Publication ’Jolimont’, Historic House, Australian Council of National Trusts, Canberra, 1982, pp86‐95.
Reproduced Rex Reinits (ed.), Australia’s Heritage ‐ The Making of a Nation, Paul Hamlyn, Sydney, 1971, p749, colour; Part 32 cover (detail), colour.
S. de Vries Evans, Pioneer Women, Angus & Robertson, Sydney, 1988, p171, colour.
Reviews ‐
Exhibition‐
Provenance Major General Edward Macarthur, 1860.
Major General Macarthur Onslow, 1945.
Lawsons, 13 February 1945, cat no 414, titled ‘Old Government House, Melbourne’, 280 guineas.
? La Trobe Library.
Notes
Martens records in his account book the sale of a work entitled ‘Jolimont, Melbourne’ to Major General Edward Macarthur on 4 March 1860 for 20 guineas. It is possible that this refers to the above work, at present part of the La Trobe Library collection. A companion work, entitled ‘Toorac House, Melbourne’ (refer no 35 this catalogue), had been sold to Macarthur the previous month, on 20 February. Both were offered for sale at Lawsons in 1945 by Major General Macarthur Onslow, a descendant of Edward Macarthur, and the latter was possibly purchased by the National Library. Unfortunately neither work is at present attributed to Martens, and they are very unlike his style.
This ‘View of Jolimont’ in the La Trobe Library is presently catalogued as ‘by an unknown artist’. It is dated c.1842‐3 and purports to show the family of Governor La Trobe in the garden of Jolimont. It is possible that this was the oil executed by Martens in 1860, though further research is needed to verify this connection. 69
Martens is not known to have visited Melbourne, and preliminary pencil sketches of this subject by him are unknown, therefore the above painting was probably based on a previous drawing by another artist.
Jolimont, a weatherboard cottage, was built in 1839 and acted as the official residence of the Superintendent of the Port Phillip District, and later Governor of Victoria, Charles Joseph La Trobe, until 1854. His replacement, Sir Charles Hotham, took up residence at the palatial Toorac House, Melbourne in that year.
Sir Edward Macarthur (1789‐1872), son of John and Elizabeth Macarthur of Camden Park and Elizabeth Farm, was made Commander‐in‐Chief of the Colonial forces based in Melbourne in May 1855, and administrator of the Port Phillip District in December of that year upon the death of Sir Charles Hotham. Though he relinquished his political powers on 23 December 1856 when Victoria was proclaimed a Colony, he carried on his military duties and remained resident at Melbourne until 1860, when he returned to England. He was probably a resident at both Jolimont and Toorac House, and obviously commissioned the above two works just prior to his departure from the Colony. Macarthur, though born in Australia, was like so many other patrons of Martens’, taking back ‘home’ to England one or a number of the artist’s paintings as a fitting reminder of life in the Colony.
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70
No. 35
Title Flagstaff House, Melbourne [Toorac House, Melbourne]
Date [1860]
Medium Oil on canvas
Dimensions 40 x 51cm (16 x 20in)
Library No. NK110
Subject Group
Dated ‘1858’
Signed ‘J.D.Stone’
Inscribed ‐
Collection Rex Nan Kivell Collection, National Library of Australia.
Publication‐
Reproduced R.M.Younger, Australia! Australia! The Pioneer Years ‐ A Pictorial History, Rigby, Adelaide, 1975, p240, colour.
A Catalogue of Oil Paintings in the Pictorial Collection of the National Library of Australia, Canberra, 1988, p111, b/w.
Reviews ‐
Exhibition‐
Provenance Major General Edward Macarthur, 1860. Major General Macarthur Onslow, 1963. Lawsons, 13 February 1945, cat no 415, 150 guineas. ? National Library of Australia.
Notes
Martens records in his account book the sale of a work entitled ‘Toorac House, Melbourne’ to Major General Edward Macarthur on 20 February 1860 for 20 guineas. It is possible that this refers to the above work, at present part of the National Library of Australia collection. A companion work, entitled ‘Jolimont, Melbourne’ (refer no 34 this catalogue), had been sold to Macarthur the following month, on 4 March. Both were offered for sale at Lawsons in 1945 by Major General Macarthur Onslow, a descendant of Edward Macarthur, and the above work was possibly purchased by the National Library. Unfortunately neither work is at present attributed to Martens, and they are very unlike his style. The above oil painting is currently attributed to J.D.Stone (1836‐79). However it appears that the National Library was the purchaser of the Martens oil of Toorac House from Lawsons in 1945, and if so then this could be the work by Martens. In 1854 Toorac House was expensively refurbished to become the official residence of Victoria’s new Governor, Sir Charles Hotham, replacing the weatherboard cottage (Jolimont) which had served that purpose since 1839. Toorac House was to remain the Colony’s official Government House until the present building was completed in 1876. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 71
No. 36
Title Burrangalong Cavern, Rockybridge Creek [Northern Entrance to Burrangalong Cavern]
Date [c1849]
Medium Oil on canvas
Dimensions 47.6 x 65.6cm (18 3/4 x 25 3/4in)
Library No. ML98
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection Mitchell Library
Publication Society for the Promotion of the Fine Arts in Australia, (Exhibition Catalogue), Kemp & Fairfax, Sydney, 1849, p13.
M.Mackay, ‘Notes on Conrad Martens’ Cave Paintings’, (unpublished manuscript), Thirty Victoria Street, Sydney, 1984.
Martin Terry, ‘Curious Caverns ‐ Picturesque Geology in Australian Art’, The Australian Antique Collector, 33rd edition, Sydney.
Reproduced‐
Reviews ’Nos. 338, 341, 344, 346. ‐ Burrangallong Cavern.‐ C.Martens.‐ Property of Mr. Martens.‐ It is to be lamented that this clever artist does not keep his eccentricities under proper controul. We have here, on a small scale, what might be four scenes for a play to be termed "Much ado about Nothing! The drawing in each is harsh and rude beyond necessity, and the shadows are mere darkness....’ (Sydney Morning Herald, 2 June 1849).
Exhibition ’Society for the Promotion of the Fine Arts in Australia’, Sydney, 1849, cat no 346, titled ‘Northern Entrance to Burrangalong Cavern’.
‘Fine Art Exhibition’, Sydney, 1857, cat no 269, titled ‘Entrance to the Caves, Burrangalong’.
Provenance James Fairfax, 1849; D.S.Mitchell.
Notes
This oil is based on the pencil sketch ‘North Entrance, Burrangalong Cavern on The Abercrombie River, May 18th 1843’ (DG*D18 f.10). The oil is most likely the work entitled ‘Burrangalong Cave, northern entrance’ sold to James Fairfax on 7 August 1849, via an art union held in conjunction with the Sydney exhibition of the Society for the Promotion of the Fine Arts in Australia. The value of the work was 12 guineas and it was one of four cave paintings in oil shown by Martens at that exhibition. As the work is undated, we can only say that it was executed sometime between May 1843 and June 1849. Whether it was painted in 1843 along with the majority of Martens’ other 72 works on the Burrangalong Cavern, or got up specifically for the exhibition in 1849 is unknown ‐ the latter seems more likely in the opinion of this author.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
73
No. 37
Title Portrait of Conrad Martens, by Maurice Felton
Date 1840
Medium Oil on canvas
Dimensions 75 x 61cm; framed 102.5 x 89.4cm. (30 x 24 3/4in)
Library No. ML17
Subject Group
Dated ‘1840’ label on verso.
Signed ‐
Inscribed A label previously pasted to the back read ‘Portrait of Conrad Martens. 1840 painted by Maurice Felton. M.D. Property of Myra Felton. Artist ‘Veni’ Goodhope St. ‐ Glenmore Road Sydney’. This label, now filed at ML PXn138, is probably in Myra Felton’s hand.
Collection Mitchell Library ‐ presented by Miss A.H.Combes of Fonthill, Lake Bathurst, 14 November, 1921.
Publication Guide to Pictures on Display in the Mitchell and Dixson Galleries and other Rooms Opened to the Public, Public Library of New South Wales, 1967.
S.Maurot, ‘Notes on Attribution of Conrad Martens Portrait ML17’, (unpublished), Mitchell Library, 1969, ML PXn349.
Eve Buscombe, Artists in Early Australia and Their Portraits, Eureka Press, Sydney, 1979, p98.
Reproduced Lionel Lindsay, op cit., 1920, frontpiece, colour, titled ‘From a portrait in oils painted by himself’.
Marjorie Barnard, ‘The Life and Death of Conrad Martens’, Australia National Journal, March ‐ May 1940, Sydney, p34, b/w.
, ‘Australia as seen by Conrad Martens’, The Etruscan, Sydney, Volume 10, Number 4, March ‐ June 1961, p18, titled ‘Conrad Martens by Dr. Maurice Felton.’
Lionel Lindsay, op cit., 1968, plate 7, colour, titled ‘Self‐portrait of the artist’.
Alan Moorehead, Darwin and the Beagle, Penguin, 1971, p.134, b/w.
Rex Reinits (ed.), Australia’s Heritage ‐ The Making of a Nation, Paul Hamlyn, Sydney, 1971, p988, detail, colour.
R.Cameron, Australia ‐ History and Horizons, Hicks Smith & Sons, Sydney, p242, b/w.
Complete History of Australia, Part 1, Summit Books, Dee Why, 1974, p448, detail, colour.
Reviews ‐
Exhibition ’Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 228, titled ‘Portrait of 74
the late Conrad Martens, Esq. (oil). Artist ‐ Dr. Maurice Felton, M.D. Lent by Miss Myra Felton.’
Provenance Maurice Felton, 1840; Myra Felton 1897; Miss A.H.Combes, 1921.
Notes
Half‐length portrait, facing to right. There is much confusion regarding the attribution of this work (ML17) and another portrait of Martens (ML28) in the Mitchell Library collection, as to which is a self portrait and which is by Maurice Felton. This author has come to the conclusion that the above work (ML17) is by Felton and was executed in 1840, whilst ML28 is a later self‐portrait, dated about December 1848. Reasons for these conclusions, and a summary history of the attribution problem, are contained in the separate section on ‘Attribution of Conrad Martens Portraits’.
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75
No. 38
Title Sydney from the North Shore
Date 1841
Medium Oil on canvas
Dimensions 47.0 x 66.2cm (18 1/2 x 26in)
Library No. ‐
Subject Group ‐
Dated ‘1841’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Dr John
Publication‐
Reproduced Chris Deutscher Gallery, (catalogue), November 1988, plate 5, colour.
J.Mendelssohn, ‘The Hidden Treasures of Australian Art’, The Australian Magazine, Sydney, June 3‐4 1989, colour.
Reviews ‐
Exhibition‐
Provenance John Campbell, 1841.
Charles Edward Bright, Beleura, Mornington and Monte Vista, South Yarra, Victoria and (after 1894) London.
Charles Manners‐Sutton Bright, Paradise House, Henley, United Kingdom.
Rachel Bright, Henley, United Kingdom, by descent, Private Collection, Sydney.
Chris Deutscher Gallery, November 1988, cat no 5.
Dr J.L. Raven, 1989.
Notes
This is possibly the work entitled ‘Sydney from N.Shore’ commissioned by J.Brown on 31 May 1841, but subsequently sold by the artist to J.Campbell for 15 guineas.
‘J.Campbell’ probably refers to John Campbell, eldest son of Robert Campbell, the famous merchant of Wharf House, Sydney Cove. The Campbell family were generous patrons of Martens throughout his years in Australia.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 76
No. 39
Title Parramatta River
Date [?1859]
Medium Oil on cardboard
Dimensions 28.9 x 45.7cm (11 3/8 x 18in)
Library No. ML598
Subject Group
Dated ‐
Signed ‘C.Martens’
Inscribed Title from old catalogue card, now discarded.
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance ? Edward Hamilton, 1859.
Notes
This work appears to be an unfinished study. The view looks west from the north shore towards the Parramatta River, with the Blue Mountains in the distance.
Martens records the sale of a ‘sketch’ entitled ‘Parramatta River’ to Edward Hamilton for 2 guineas on 7 November 1959, though whether or not it is the above work is unclear. Martens’ definition of a sketch was outlined in his ‘Lecture Upon Landscape Painting’ given at the Australian Library, Sydney, on 21 July 1856, as follows:
Now the sketch should be slight as it is for the purpose only of giving a general idea of the subject to be painted, and the beginning of a work is not the time for details. It may be made in pencil only, in order to shew how the forms will combine, or it may be made in black and white for the purpose of arranging the light and shade, or it may be just blotted down in color as a guide to that important part of the picture, or lastly it may be composed of all together but on too small a scale to define objects or enter into any details.
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77
No. 40
Title Castle in Devonshire, England [Salcombe Castle]
Date [1839]
Medium Oil & watercolour
Dimensions 40.6 x 60.8cm (16 x 24in)
Library No. ML V*SpColl/Martens/17
Subject Group
Dated ‐
Signed ‘C.Martens’
Inscribed ‐
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 232, titled ‘Salcombe Castle, Devonshire. Lent by D.S.Mitchell.’
Provenance George McLeay, 1839; David Scott Mitchell, 1897.
Notes
This painting is based on the pencil sketch ‘Salcombe Castle July 9 1830’ (DL PX35 f.11). Another pencil sketch entitled ‘Bolthead near Salcombe. July 9 1830’ (DL PX35 f.13) was also taken that day.
This oil is most likely the work entitled ‘Salcombe Castle’ sold by Martens to G.McLeay for 15 guineas on 2 May 1839. Martens later sold a work entitled ‘Salcombe Castle near Plymouth’ for £6 at an Art Union on 31 July 1861; and ‘Salcombe Castle and the Bolthead, South Coast Devon (framed)’ to a Mr Giblin for 20 guineas in August 1871, however he exchanged the latter work with Mr Giblin in 1873 for a ‘View in Lithgow Valley’. Giblin was the son‐in‐law of Martens’ old friend George William Evans.
Castles were a favourite picturesque subject with Martens during his early years as an artist in England between 1828‐32.
The view of Salcombe Castle exhibited by David Scott Mitchell in 1897 is listed as a watercolour, and may be the above work or one of the two later paintings of this subject.
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78
No. 41
Title Temple of Minerva, Island of Aegina
Date [1853]
Medium Oil, watercolour & gouache
Dimensions 19.7 x 29.3cm (7 3/4 x 11 1/2in)
Library No. ML V*SpColl/Martens/36b
Subject Group Sheep, Goats, Shepherds
Dated ‐
Signed ‐
Inscribed ‐
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance L.Hutton, 1853.
Notes
This is most likely the work entitled ‘Temple of Minerva’ sold to L.Hutton for 5 guineas on 18 July 1853.
This work is at present mounted with another of Martens’ classical studies, entitled ‘The Tomb’ (refer no.45 this catalogue).
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
79
No. 42
Title Evening
Date
Medium Oil pasted down on board
Dimensions 18.4 x 27.2cm (7 1/4 x 10 3/4in)
Library No. ML SSV*SpColl/Martens/31
Subject Group
Dated ‐
Signed ‐
Inscribed On back in pencil in a former Mitchell Library officer’s hand is ‘No.1 Evening by Conrad Martens.’
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance‐
Notes
This work is an unfinished study of a view in Sydney harbour, possibly taken from the North Shore. It is the companion work to a similarly titled watercolour also in the Mitchell Library collection (ML SSV*SpColl/Martens/30).
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80
No. 43
Title Station [View of Arthursleigh]
Date [1839]
Medium Oil on canvas
Dimensions 44.6 x 64.8cm inside frame; 64.3 x 85.8cm framed. (17 1/2 x 25 1/4in)
Library No. ML105
Subject Group
Dated ‐
Signed ‐
Inscribed Title from plaque on frame.
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance H.H.Macarthur 1839.
Notes
This oil is possibly the work entitled ‘View of Arthursleigh’ sold to Hannibal Macarthur on 16 August 1839 for 12 guineas, though the original pencil sketch has not been located to pin‐point the view.
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81
No. 44
Title Orofena, Tahiti
Date [1838]
Medium Oil on teakwood panel
Dimensions 19.7 x 30.2cm (7 3/4 x 12in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection Art Gallery of New South Wales ‐ gift of Norman Schureck, 1957.
Publication‐
Reproduced Aspects of Australian Art, Art Gallery of New South Wales, Sydney, 1976, cat no 1, b/w.
Barry Pearce, ‘Conrad Martens ‐ The Traveller Who Stayed’, Hemisphere, 1983, p8, colour.
Reviews ’...Martens is best remembered for his many beautiful water colours of Sydney which show a dramatic use of light and dark tones, atmospheric skies, and shafts of light falling on the waters of Sydney Harbour. Orofena Tahiti was painted from sketches in Sydney after 1835. Orofena is the highest mountain in Tahiti, and the painting conforms very much to the romantic ideal of "space and grandeur, a quality much desired, especially in mountain scenery" (Martens’ lecture on landscape painting, 1856). The accurate geological observation is a legacy of the influence of Charles darwin and scientific observation....The dark central area of Orofena, with the silhouetted suggestion of exotic tropical vegetation, and the high rugged peaks of the mountains, relies very much on the romantic ideal of a formulae for making a picture picturesque and therefore suitable for painting.’ (Aspects of Australian Art, op cit., p1).
Exhibition ’Fine Art Exhibition’, Sydney, 1857, cat no 284, titled ‘Orofena, the highest peak in Tahiti’.
‘Aspects of Australian Art’, The Art Gallery of New South Wales Travelling Art Exhibition Service, Sydney, 1976, cat no 1.
‘Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 7.
Provenance G.W.Evans, 1838; H.Ferris, 1857; Norman Schureck, 1957.
Notes
This oil is based on the pencil sketch ‘Oropena, the highest mountain in Tahiti. Feby 1835’ (ML PXC294 f.10) The oil is most likely the work entitled ‘Oropena, Tahiti, oil’ sold to J.Evans [i.e. G.W.Evans] on 31 May 1838 for 4 guineas. For biographical information on G.W.Evans refer no.6 this catalogue. A watercolour of possibly the same view, and titled ‘Waterfall, Tahiti’, is also known. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 82
No. 45
Title The Tomb
Date
Medium Oil, watercolour & gouache
Dimensions 23.8 x 34.4cm (9 3/8 x 13 1/2in)
Library No. ML V*SpColl/Martens/36a
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection Mitchell Library
Publication‐
Reproduced‐
Reviews ‐
Exhibition ‐
Provenance‐
Notes
The above painting is a classical study, with two Merlin‐like robed figures by an ancient stone tomb. It is presently mounted with another classical study titled ‘Temple of Minerva, Island of Aegina [1853]’ (refer no 41 this catalogue).
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83
No. 46
Title The Corcovada, Boto Fogo, Rio Janeiro
Date [1838]
Medium Oil on teakwood panel
Dimensions 22.5 x 30.5cm (8 7/8 x 12in)
Library No. AGNSW no.9396
Subject Group
Dated ‐
Signed ‐
Inscribed Titled as above on verso.
Collection Art Gallery of New South Wales ‐ gift of Norman Schureck, 25 October 1957.
Publication R.D.Keynes, The Beagle Record, Cambridge University Press, Cambridge, 1979.
Reproduced‐
Reviews ‐
Exhibition ’Fine Art Exhibition’, Mechanics’ School of Arts, 1857, Sydney, lot 283.
Provenance J.Brown, 1838; H.Ferris, 1857; Norman Schureck, 1957.
Notes
The oil is based on the pencil sketch ‘Corcovado. July 15 1833’ (Cambridge University Library, Martens’ Beagle Sketchbook III, f.4) taken by Martens whilst a member of the Beagle expedition. Another sketch taken on the same day and titled ‘Botofogo Bay, Rio Janeiro’ is also known (ibid, f.5). A watercolour version of this view, entitled ‘Botofogo, Rio Janiero’ is located at ML SSV* SpColl / Martens / 21. Refer Keynes catalogue, nos.42, 43, & 44.
The above oil is most likely the work entitled ‘Bota Fogo, Rio Janiero, Oil’ sold to J.Brown for £3.10. on 20 March 1838.
According to Martens’ account book, this was the first oil which he sold in the Colony. Whether it was the first to be painted here is unknown. Both this work and another small oil of Tahiti were exhibited by H.Ferris in Sydney in 1857.
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84
No. 47
Title Arthur Street, North Sydney [Gum Tree, St Leonards]
Date [1848]
Medium Oil
Dimensions 33.1 x 48cm inside frame. (13 x 18 7/8in)
Library No. DG19
Subject Group
Dated ‐
Signed ‐
Inscribed Title from mount.
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Henry Martens, c1848; Sir William Dixson, 1929.
Notes
This work is based upon a sketch in pencil and white in the Dixson Library (DL PX25 f.44), which is inscribed
‘Gum tree. March 4th 48. Painted in oil and sent to Hy Martens in England 18..’
Another pencil sketch of a similar scene, simply titled ‘St Leonards. March 15th/48’, is located in the same collection (DLPX25 f.45).
The above inscriptions suggests that the work under discussion was the oil sent to Henry Martens in England sometime between 1848 and 1860, the year Henry died.
Martens later recorded the selling of a drawing of a ‘Big Gum Tree’ for 5 guineas at an art union run by the New South Wales Academy of Art in 1876, and won by a Mr Callan.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
85
No. 48
Title Cox’s Farm, Mudgee [H.Cox’s Place, Mudgee]
Date [1841]
Medium Oil on canvas
Dimensions 41.9 x 58.6cm (16 1/2 x 23 1/8in)
Library No. DG83
Subject Group
Dated ‐
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection Dixson Gallery
Publication‐
Reproduced P.McDonald, Painted Panorama, Blaxland Gallery, Sydney, 1987, p62, colour.
Reviews ‐
Exhibition ’Painted Panorama’, Blaxland Gallery, Sydney, 1987, cat no 30.
Provenance J.Bell, 1841; Sir William Dixson.
Notes
This oil is most likely the work entitled ‘H.Cox Place, Mudgee’ sold to J.Bell for 12 guineas on 24 February 1841. Martens had visited Mudgee during March 1840, though a specific pencil sketch of this view has not been located.
Mitchell Library note:
Dr G.Harris suggests this is Menah, Captain Steel’s grant. The Cox brothers held Burrundulla and Brombee in the same district from 1828 and Henry purchased Capt. Steel’s grant in August 1836.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
86
No. 49
Title Near Cox’s farm, Mudgee [G.Cox’s Place, Mudgee]
Date [1841]
Medium Oil on canvas
Dimensions 39.7 x 56.2cm (15 5/8 x 22 1/8in) inside mount; 24 5/8 x 31 1/8in framed.
Library No. DG87
Subject Group
Dated ‐
Signed ‘C.Martens’ l.r.
Inscribed Titled as above on mount below painting.
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication‐
Reproduced D.Dundas, The Art of Conrad Martens, Macmillan, 1979, p84, b/w.
Reviews ‐
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 103.
Provenance J.Bell, 1841; Sir William Dixson, 1911‐12.
Notes
This is most likely the work entitled ‘G.Cox Esq. Place, Mudgee’ sold to J.Bell for 12 guineas on 13 February 1841. Martens had visited Mudgee during March 1840.
Mitchell Library note: Dr G.Harris suggests this may be Mount Buckaroo.
In the account books kept by Sir William Dixson, he records the purchase of an ‘Oil Painting by Martens nr Cox’s Farm £105’ from Angus & Robertsons in 1911‐1912.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
87
No. 50
Title Papiete, Tahiti
Date
Medium Oil on board
Dimensions 33.3 x 48.3cm (13 x 19in)
Library No. DG160
Subject Group Papeete
Dated ‐
Signed ‘C.Martens’ l.r.
Inscribed Old label on stretcher reads ‘Mrs F.D.Priddle. Sea view with sailing boat in oil colours by Conrad Martens.’
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication R.D.Keynes The Beagle Record, Cambridge University Press, 1979, cat no 306.
Reproduced‐
Reviews ‐
Exhibition ’Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 58, titled ‘Tahiti. Lent by Mrs Priddle.’
Provenance Mrs F.D.Priddle, 1897; Sir William Dixson, 1929.
Notes
The specific location and date of execution of this work have not been identified, apart from the above title ‘Papiete, Tahiti’.
In the account books kept by Sir William Dixson, he records the purchase of an ‘Oil Painting by Martens of Tahiti £75’ from Angus & Robertsons in 1911‐1912. As there are two other Martens oils in the Dixson Gallery and Dixson Library collections with Tahitian subjects (DL27 and DG215) apart from the above work, it is difficult to say which one was purchased from Angus & Robertsons.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
88
No. 51
Title Wombeyan Caves [Interior of Burrangalong Cavern, Abercrombie River, N.S.W.]
Date [1843]
Medium Oil on canvas
Dimensions 61.5 x 87.4cm (23 3/4 x 34 1/2in)
Library No. DG163
Subject Group
Dated ‐
Signed ‐
Inscribed Title from frame
Collection Dixson Gallery ‐ present by Sir William Dixson, 1929.
Publication Society for the Promotion of the Fine Arts in Australia, (Exhibition Catalogue), Kemp & Fairfax, Sydney, 1849, p13.
M.Mackay, ‘Notes on Conrad Martens’ Cave Paintings’, Thirty Victoria Street, Sydney, 1984.
Martin Terry, ‘Curious Caverns ‐ Picturesque geology in Australian art’, The Australian Antique Collector, 33rd edition, Sydney.
Reproduced‐
Reviews Society for the Promotion of the Fine Arts in Australia (Exhibition Catalogue), Sydney, 1849, cat no 338:
‘Interior of Burrangalong Cavern, Abercrombie River, N.S.W.’ ‐ This Cavern was first explored and made known by R.Davidson, Esq., of Bathurst. The Gallery high up on the right of the Picture was occupied by the Artist during his sojourn of a week....’
Sydney Morning Herald, 2 June 1849:
‘Nos. 338, 341, 344, 346. ‐ Burrangallong Cavern.‐ C.Martens.‐ Property of Mr. Martens.‐ It is to be lamented that this clever artist does not keep his eccentricities under proper controul. We have here, on a small scale, what might be four scenes for a play to be termed "Much ado about Nothing! The drawing in each is harsh and rude beyond necessity, and the shadows are mere darkness....’
Exhibition ’Society for the Promotion of the Fine Arts in Australia’, Sydney, 1849, cat no 338, titled ‘Interior of Burrangalong Cavern, Abercrombie River, N.S.W.’
‘Loan Exhibition, National Art Gallery of New South Wales, 1897, cat no 56, titled ‘Abercrombie Caves. Lent by R.T.Carter, Esq.’
Provenance C.Martens, 1849; ?R.T.Carter, 1897; Sir William Dixson, 1929. 89
Notes
This work has previously born the erroneous title ‘Wombeyan Caves’, however the preferred title is ‘Interior of Burrangalong Cavern, Abercrombie River, N.S.W.’ as given to the work when exhibited in 1849.
This oil is based on the pencil sketch entitled ‘Gallery and Grand Archway, Southern End. May 24th/43’ (DG*D18 f.7), taken by Martens during his 1843 expedition to the Burrangalong Cavern.
This is the largest of Martens’ cave paintings, and is most likely the work which he kept as one of his personal favorites. He had noted, possibly in reference to this work, the following in an 1856 letter to his brother Henry:
‘The view in the Cave has been some time done, as you heard at the time of my cavern trip....The picture has always been a favourite with me and I have more than once refused to part with it. I send you the small view of the cave by way of illustration.’
The trip referred to had taken place in May 1843, and there is the suggestion that the large oil under discussion was painted around that time. No subsequent reference is made to its sale in his account books following 1856, though Martens did sell a watercolour view of the entrance to the caves in 1872.
There is some doubt whether the above oil painting, or the smaller version referred to in Martens letter of 1856, was the one shown in the 1849 Sydney Exhibition and marked ‘For Sale’ within the catalogue. The reviewer for the Sydney Morning Herald had pointed out in his criticism:
We have here, on a small scale, what might be four scenes for a play to be termed "Much ado about Nothing!
This suggests that the four cave paintings on show were smallish in size, though there is no doubt that cat no.338 refers to the same scene as portrayed in the large work under discussion. The whereabouts of the small version of this view, sent to Henry Martens in England in 1856, is unknown.
It is possible that this large oil was also the work exhibited by R.T.Carter at the Art Gallery of New South Wales opening exhibition in 1897. Carter, a collector and art dealer, was a close friend of the artist and his family during Martens’ latter years. He obtained possession of a number of the artist’s paintings just prior to Martens’ death in 1878. Carter died in 1919, and it is possible that Sir William Dixson obtained the above oil from him prior to his death, or during the disposal of his estate.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
90
No. 52
Title Tahlee [View of Tahlee from the water]
Date [?1842]
Medium Oil on canvas laid down
Dimensions 31 x 46cm (12 1/4 x 18 1/8in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed Verso certificate of authenticity signed by John Young, Macquarie Galleries together with letter from Sir William Dixson and other documents.
Collection ‐
Publication Jesse Gregson, The Australian Agricultural Company 1824‐1874, Angus and Robertson, 1907.
Gospel Fisherman’s Mission, A Place Called Tahlee, 1976.
P.A.Pemberton, Pure Merinos and Others: The Shipping Lists of the Australian Agricultural Company, Archives of Business and Labour, Canberra, 1986.
Reproduced F.R.Strange, 1 July 1974, p25, b/w.
Reviews ‐
Exhibition‐
Provenance Macquarie Galleries; F.R.Strange, 1 July 1974, lot 119, $2400.
Notes
This oil is possibly the work entitled ‘View of Tahlee from the island’ sold to Captain Philip Parker King on 7 May 1842 for 8 guineas, though further research is needed to confirm this. The oil is based on the pencil sketch ‘Tahlee. April 23/41’ (DL PX24 f.59) taken during an extensive tour of the Port Stephens and Newcastle areas by Martens during April‐May 1841. Tahlee House, at Carrington, Port Stephens (see Pemberton, op cit., p7), was the official residence of the local commissioner / superintendent of the Australian Agricultural Company, which position Martens’ friend Captain Philip Parker King occupied between 1839‐49. Colonel Henry Dumaresq was commissioner prior to this, between 1835‐39. The house had been built around 1830. Martens records the sale of a number of works with Tahlee as the subject between 1841‐55, as follows
1841 £ s Sept.20. Port Stephens and Tahlee. Mrs Dumaresq 15.15. Oct. 14. View of Tahlee from the water. Mrs Dumaresq. 15.15. Decr.11. Tahlee from the water. Capt P.P .King. 8.8. 91
1842 May 7. View of Tahlee from the Island. Capt.King R.N. 8.8. July 13. View. Tahlee. J.W.White Esq 8.8.
1849 Aug. 7. View of Tahlee, Port Stephens. ‐ Wilshire Esq. 6.6.
1855 Nov. 26. View of Tahlee. Revd.R.King. 3.3.
The relatively small size of the work (12 x 18" instead of the more common 18 x 26") suggests it was one of the works sold for 6 or 8 guineas, as the larger works usually sold for 15 guineas. It is difficult to determine which sale refers to the oil under discussion, though ‘View of Tahlee from the water’ is closest in subject. This oil is almost identical to another (refer no 53 this catalogue), and both portray a view of Tahlee house from the waters of Port Stephens, with the boat harbour at Tahlee to the left of the view. The only major differEnce is the presence of a row boat in the foreground of the above work, whilst the other oil contains a row boat and sail boat in a similar position.
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92
No. 53
Title Tahlee, Port Stephens, New South Wales [Tahlee from the water]
Date [1841]
Medium Oil on canvas
Dimensions 30.5 x 45.5cm (12 x 18in)
Library No. ‐
Subject Group
Dated ‐
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection Private
Publication Colonial and Modern Australian Art, Chris Deutscher Gallery, Melbourne, 1988.
Reproduced Christies, London, 22 October 1976, plate 5.
‘Autumn Exhibition’, Joseph Brown Gallery, Melbourne, April 1979, frontpiece, colour.
Sothebys, Sydney, 29 October 1987, p161, colour.
Chris Deutscher, June 1988, cat no 12, colour.
Reviews ‐
Exhibition ’An Exhibition of Pictures & Prints of Early Sydney and New South Wales’, Blaxland Galleries, Sydney, 16‐28 September, 1920, cat no 23.
Joseph Brown Gallery Autumn Exhibition, Melbourne, April 1979, cat no 5.
Provenance Philip Parker King, 11 December 1841. Thomas Lethbridge, September 1849, thence by descent. Christies, London, 22 October 1976, lot 23, £10000. Joseph Brown Gallery, Melbourne, April 1979, cat no 5. Private collection, Melbourne, 1985. Sothebys, Sydney, 29 October 1987. Chris Deutscher, June 1988, cat no 12, $120000.
Notes
This is most likely the work entitled ‘Tahlee from the water’ sold to Captain Philip Parker King on 11 December 1841 for 8 guineas. This oil is based on the pencil sketch ‘Tahlee. April 23/41’ (DL PX24 f.59). It is almost identical to another (refer no 52 this catalogue), both portraying a view of Tahlee house from the water of Port Stephens.
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No. 54
Title View of Fort Street and the North Shore, from Flagstaff Hill
Date 1843
Medium Oil on canvas
Dimensions 31.3 x 79.4cm (13 x 31in)
Library No. NK19
Subject Group
Dated ‘1843’
Signed ‘C.Martens’
Inscribed ‐
Collection National Library of Australia, Nan Kivell Collection
Publication‐
Reproduced A Catalogue of Oil Paintings in the Pictorial Collection of the National Library of Australia, Canberra, 1988, p83, b/w.
Reviews ‐
Exhibition‐
Provenance‐
Notes
This oil is most likely the work entitled ‘Fort Street and N.Shore from the Flag Staff Hill, 31 x 12 1/2, oil, with frame’ sold to F.Ford for 8 guineas on 4 July 1848. it is partially based on the pencil sketches ‘Fort Street Feby 8th/43’ (ML PXC294 f.33) and ‘Fort Street Feb 8/43’ (ML PXC284 f.9).
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94
No. 55
Title Sydney Cove [View from the Window]
Date 1842
Medium Oil on canvas
Dimensions 31 x 80cm (12 1/4 x 32in)
Library No. ANL abn83‐049126
Subject Group ‐
Dated ‘1842’
Signed ‘C.Martens’
Inscribed ‐
Collection National Library of Australia
Publication‐
Reproduced Barry Pearce, ‘Conrad Martens ‐ The Traveller Who Stayed’, Hemisphere, 1983, p7, colour.
A Catalogue of Oil Paintings in the Pictorial Collection of the National Library of Australia, Canberra, 1988, p83, b/w.
Reviews ‐
Exhibition ’Sydney Harbour’, S.H. Ervin Museum and Art Gallery, Sydney, 1978, cat no 11.
Provenance‐
Notes
This oil is most likely one of the three works entitled ‘View from the Window’ or ‘View from my window’ painted by Martens during 1842‐3. They were sold for 12 guineas each to
*The Governor, Sir George Gipps, on 26 September 1842.
*M.D.Hunter, on 13 November 1842.
*Captain John Lort Stokes, on 20 January 1843.
See no.29 this catalogue for a detailed description and reviews of this and the other extant companion work, along with biographical profiles of Gipps and Stokes.
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95
No. 56
Title Lake Illawarra
Date 1844
Medium Oil on canvas on board
Dimensions 45.3 x 64.6cm (18 3/4 x 26in)
Library No. ‐
Subject Group
Dated ‘1844’
Signed ‐
Inscribed ‐
Collection ‐
Publication M.Organ, ‘Conrad Martens in Illawarra, 1835’, (unpublished manuscript).
Reproduced Christies, 14 March 1972, plate IV, b/w.
Reviews ‐
Exhibition‐
Provenance Lawsons 1 October 1895, cat no 72, Dr Sedgewick Collection, 25 guineas, titled ‘Lake Macquarie’.
Christies October 1971, cat no 7, titled ‘Lake Macquarie’, offered by Cloonan Antiques but withdrawn before sale.
Christies March 1972, cat no 38, $4000, titled ‘Lake Illawarra’ ‐ purchased by Artarmon Galleries.
Christies, London, 14 October 1977, cat no 220, £4200. The property of the Australian Mercantile Land and Finance Company Limited of Sydney.
Notes
This oil is most likely the work entitled ‘Illawarra Lake’ sold to J.Brown for 12 guineas on 25 March 1844, for which Martens received payment in wine. The oil is based on the pencil sketch ‘Lake Scene, Illawarra, July 12/35’ (ML PXC295 f.51) taken during a 10 day tour of the Illawarra region of New South Wales during July 1835. A number of pencil and watercolour variations of this view are known, including:
*’View of a Lake with two small islands, 1835’, watercolour DL31.
*’Lake at Illawarra’, pencil & white, ML PXC296 f.15.
The above oil was cleaned and restored by Mr W.Boustead of the New South Wales Art Gallery during September‐October 1971 (refer D.A.Cloonan letter, TVS) prior to presentation for sale by Cloonan Antiques.
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No. 57
Title Riverstone Bridge [Mitchells Bridge]
Date 1843
Medium Oil
Dimensions 44 x 62.5cm (17 1/4 x 24 1/2in)
Library No. ‐
Subject Group ‐
Dated ‘1843’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed Label on verso ‘Mountain Pass, Emu Plains, road to Bathurst’.
Collection ‐
Publication Colin O’Connor, Spanning Two Centuries ‐ Historic Bridges of Australia, University of Queensland Press, St Lucia, 1985.
Reproduced Sothebys, Melbourne, 27‐28 November 1988, cat no 323, colour, ‘Riverstone Bridge, 1853’.
Collectors Annual, Australian Consolidated Press, Sydney, 1988, pp78‐9, colour.
Reviews ‐
Exhibition ’Exhibition of Paintings, Watercolour drawings and Engravings’, Legislative Council Chamber, Hobart, 1845, cat no 5, titled ‘On the Bathurst Road, N.S.Wales’, proprietor G.W.Evans.
‘Art Treasures Exhibition’, Hobart, 1858, cat no 84, titled ‘Mountain Pass to Bathurst, from Emu Plains, New South Wales’.
‘Art Treasures Exhibition’, Hobart, 1862‐3, cat no 43, titled ‘Mountain Pass to Bathurst, from Emu Plains, New South Wales’.
Provenance G.W.Evans, 1844‐52.
Kenneth Stewart / Consolidated Press.
Sothebys, Melbourne, 27‐28 November 1988, cat no 323, titled ‘Riverstone Bridge, 1853’.
Notes
This oil is the work entitled ‘Mitchells Pass’ sold to on 18 January 1844 for 12 guineas (along with a similar view of Lansdowne Bridge). it is based on the pencil sketch ‘Bridge at Mitchell’s Pass. April 25, 35’ (ML PXC295 f.92). Variations of this work include
97
*’Lennox Bridge, Lapstone Hill, Mitchell Pass near Penrith, N.S.W. 1835’, watercolour, National Library of Australia.
* ‘Mitchell’s Bridge’, c.1843, pencil, DL PX19 f.22.
‘’ refers to George William Evans (see biographical note under no.6 this catalogue), and was purchased / commissioned by Evans just prior to his removal from Sydney to Hobart in February 1844.
This work was exhibited in Hobart in 1858 under the title ‘Mountain Pass to Bathurst, from Emu Plains, New South Wales’ by Evans’s son‐in‐law Mr. A label on the back of the painting bore a similar title when it was offered at auction in 1988.
This author strongly believes the work to be dated at ‘1843’ and not ‘1853’ as in the Sothebys catalogue of 1988.
This work ‘Mitchells Pass’, and its companion ‘Lansdown Bridge’, were both sold to Evans in January 1844 for 12 guineas each, prior to his departure for Hobart.
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98
No. 58
Title Denn’s Falls, Tia River, NSW
Date [?1874]
Medium Oil
Dimensions 84 x 122cm (33 x 48in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed Label on verso ‘Exhibited in 1897 under ownership of R.T.Carter’.
Collection Art Gallery of New South Wales
Publication
Reproduced
Reviews
Exhibition National Art Gallery of New South Wales, 1897, cat no 98.
Provenance R.T.Carter, 1897; AGNSW, purchased from Gallery A, 26 June 1978, $28000.
Notes
Based on pencil sketch ‘The Tia River Denn’s Falls. N England April 28th 1852’ (ML PX*D307‐4 f.10). See also ‘The Aspley at Denn’s Falls, New England’ (ML PX*D307‐6 f.4).
This is perhaps Martens’ largest oil painting, yet no record of its sale or presentation as a gift can be found in his account books. This suggests that the artist kept it as part of his personal collection. Dating the work is problematic, for even though it is based on pencil sketches taken in 1852, it may have been executed any time after that, right up until 1878.
Martens had produced two large watercolours of similar, though differant, views entitled the ‘Apsley Falls near Waterloo, New England’ and ‘On the Apsley River’ for the Victorian and New South Wales Art Galleries in 1872 and 1874 respectively. The new South Wales Art Gallery commission was worth 50 guineas, and perhaps the above oil was produced around this time, with the artist eventually deciding to submit the watercolour to the Gallery trustees.
Both this work, and another large, undated, oil of the Burrangalong Cavern, were exhibited at the National Art Gallery of New South Wales in 1897 by R.T.Carter, art dealer and friend of the artist. Perhaps Carter purchased them from the artist or his family around the time of Martens’ death in 1878.
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99
No. 59
Title Landscape Study
Date
Medium Oil
Dimensions 32.4 x 39.7cm (12 3/4 x 16in)
Library No.
Subject Group
Dated
Signed ‘C.M.’
Inscribed
Collection Queensland Art Gallery
Publication
Reproduced
Reviews
Exhibition ’Conrad Martens’, Queensland Art Gallery, August 1976, cat no 10.
Provenance
Notes
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100
No. 60
Title Sydney Harbour [View of Sydney from Mossman’s Bay]
Date [1841]
Medium Oil on canvas
Dimensions 30 x 58cm (11 x 22in)
Library No. ‐
Subject Group
Dated ‐
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection Bendigo Art Gallery
Publication‐
Reproduced Lindsay, 1920, plate XVI, colour; Lindsay, 1968, plate 15, colour.
Art and Australia, January‐March, 1975, p266, b/w.
Reviews ‐
Exhibition‐
Provenance Mr John Young, Sydney, 1920.
Notes
? Based on the original pencil sketch ‘Sydney from Mossmans. Feby 18th 1841’ (DL PX24 f.55).
This oil presents a view of Sydney Harbour from above Mossman Bay, looking south‐west towards Sydney. The style suggests it may be one of the following works sold by the artist during 1841
Augst 7 Sydney from Mossmans Bay Esq. 15.15.
Sept 8 View of Sydney from "Mossmans J.Brown Esq. 15.15.
Sept 29 Sydney from Mossmans T.Elgar Esq. 15.15.
Refer also no.38 this catalogue for a similar view of Sydney from Mossmans.
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101
No. 61
Title View of Sydney Harbour [View from above Vaucluse]
Date [1856]
Medium Oil on canvas
Dimensions 47 x 66cm (18 1/2 x 26in)
Library No. NK4484
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection Nan Kivell Collection, National Library of Australia.
Publication ’Vaucluse House’, Historic Houses, Australian Council of National Trusts, Canberra, 1982.
Vaucluse House, Historic Houses Trust of New South Wales, Sydney, 1982.
Reproduced A Catalogue of Oil Paintings in the Pictorial Collection of the National Library of Australia, Canberra, 1988, p83, b/w.
Reviews ‐
Exhibition ’Australian Painting XIX and XX Century’, New Zealand tour, 1964, cat no 18.
Provenance‐
Notes
This oil could possibly be the work entitled ‘View from above Vaucluse’ sold to William Brown on 12 February 1856 for 20 guineas. Martens had sold two similar views of Vaucluse during 1841, and one of these works is to be found in the Mitchell Library collection (refer no 22 this catalogue).
This oil is based on the original pencil sketch entitled ‘Vaucluse from the Road Oct 30./40’ (DG*D19 f.19). Martens had also produced a pencil sketch of Vaucluse House from the harbour the previous day, on 29 October 1840.
The view looks west from the hill behind Vaucluse, up Port Jackson towards Sydney. The rear of Vaucluse House is seen in the central foreground with Vaucluse Point and Bottle & Glass Rocks just beyond, to the right. Vaucluse Bay is also to the right.
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102
No. 62
Title View of Sydney Harbour showing Sydney Cove
Date [c.1850]
Medium Oil on canvas on composition board
Dimensions 49.5 x 68.6cm (19 1/2 x 27in)
Library No. NK4485
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection Nan Kivell Collection, National Library of Australia.
Publication‐
Reproduced A Catalogue of Oil Paintings in the Pictorial Collection of the National Library of Australia, Canberra, 1988, p84, b/w.
Reviews ‐
Exhibition‐
Provenance‐
Notes ‐
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103
No. 63
Title Sydney Harbour from Darling Point
Date 1847
Medium Oil on canvas
Dimensions 61 x 91cm (24 x 36in)
Library No.
Subject Group
Dated ‘1847’
Signed ‘C.Martens’
Inscribed
Collection Queensland Art Gallery
Publication
Reproduced
Reviews
Exhibition ’Conrad Martens’, Queensland Art Gallery, August 1976, cat no 5.
Provenance
Notes
This is one of Martens’ largest works in oil. It is possibly the painting referred to by him in his account books as ‘Sydney from Waverly’, sold to Doctor Cumberland for 15 guineas on 19 March 1847. (see also no.73 this catalogue).
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104
No. 64
Title Sydney from Robertson’s Point
Date 1853
Medium Oil on canvas
Dimensions 46 x 67cm (18 1/2x 26 3/8in)
Library No. ‐
Subject Group ‐
Dated ‘1853’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Pioneer Concrete Services Pty Ltd.
Publication AFR 11 March 1976 ‘UK Farmer Finds $80,000 Martens in Cowshed’; AFR 8 April 1976; AFR 30 December 1976.
Reproduced Art and Australia, September 1977, colour.
Reviews ‐
Exhibition‐
Provenance William Carter, Crow’s Nest, St Leonards, North Shore, Sydney, 1853.
H.Watson, Hampshire, England, c1937.
Leger Galleries, Old Bond Street, London, purchased the work for £stg16,000 in early 1976.
Pioneer Concrete Services Pty Ltd purchased the work in 1977 for $80,000.
Notes
This is the work listed in Martens’ Account Book as ‘Sydney from Robinson’s Point for Mr Carter ‐ in oil ‐ 26 x 18. £15.15. Pd’, sold on 22 April 1853. It is similar to the ‘Sydney from Robertsons Point’ lithograph published by Martens in July 1855. Of the various owners of this work, William Carter was Martens’ father‐in‐law, and an avid patron during the period 1936‐53. H.Watson, of Hampshire, purchased the work at an English country sale during the 1930’s (refer Publication section above and letter from Leger Galleries to TVS, 13 April 1978), and it remained ‘buried’ in a his cowshed until rediscovered in 1976 and offered for sale by Leger Galleries. A b/w photograph of the above work is filed at ML SPF Sydney 1853, presented by Mr Posnett of the Leger Galleries in October 1977.
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105
No. 65
Title View of Sydney, from St Leonards, 1842
Date [1847]
Medium Oil & watercolour over lithograph on paper
Dimensions 27.1 x 40.2cm
Library No. ML V*SpColl/Martens/30
Subject Group
Dated ‘1842’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‘Sydney from the North Shore, 1842’ l.r.
Collection Mitchell Library
Publication
Reproduced
Reviews
Exhibition
Provenance
Note
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
106
No. 66
Title Sydney from the North Shore
Date 1842
Medium Oil
Dimensions ‐
Library No. ‐
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection Colin Caird
Publication‐
Reproduced‐
Reviews ‐
Exhibition Art Gallery of New South Wales, 1897, cat no 51.
Provenance Colin Caird.
Notes ‐
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
107
No. 67
Title View towards Miller’s Point
Date 1851
Medium Oil
Dimensions 28 x 43.3cm (11 x 17in)
Library No. ‐
Subject Group ‐
Dated ‘1851’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews
Exhibition‐
Provenance Lawsons 10 December 1963, cat no 675, 280 guineas.
Notes
The 1963 catalogue states "A fine and important work stated by the owner to have always been in the family".
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108
No. 68
Title Portrait of Elizabeth Martens
Date December 1844
Medium Oil
Dimensions 65 x 53cm (25 1/2 x 21in)
Library No. ‐
Subject Group ‐
Dated ‘Dec. 1844’ on back of canvas
Signed ‐
Inscribed ‘Elizabeth Martens painted by her father Dec. 1844’ on back of canvas.
Collection Private
Publication‐
Reproduced ’Conrad Martens Centenary Exhibition’, S.H. Ervin Gallery, 1978, 7, colour.
Australian Pioneers (National Trust Desk Diary, 1988), Sydney, opposite April 4‐10, colour.
Reviews ‐
Exhibition ’Conrad Martens Centenary Exhibition’, S.H. Ervin Gallery, 1978, cat no 49.
Provenance Mrs J.A.Combes, 1968.
Notes
Elizabeth Martens was born in Sydney on 23 August 1839, thus making her just over 5 years old at the time this portrait was taken by her father. She died, unmarried, on 26 December 1870.
Photograph of rear inscription filed at ML ZPI/M
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109
No. 69
Title Portrait of Rebecca Martens
Date 1845
Medium Oil
Dimensions 56 x 48cm (22 x 18in)
Library No. ‐
Subject Group ‐
Dated ‘1845’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection Mrs J.A.Combes.
Publication‐
Reproduced Lindsay, op cit., 1968, plate 37, b/w.
‐‐‐‐‐, op cit., 1979, p69, b/w.
Australian Pioneers (National Trust Desk Diary, 1988), Sydney, 1987, opposite April 4‐10, colour.
Reviews ‐
Exhibition ’Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 50.
Provenance Mrs J.A.Combes, 1968.
Notes
Rebecca Martens was born at Sydney on 30 January 1838, thus making her approximately 8 years old at the time this portrait was taken by her father. She died, unmarried like her sister Elizabeth, in 1909. Rebecca was an accomplished artist, taking lessons from her father and producing pencil sketches and watercolours very much in his style.
There is a great deal of similarity between this portrait, and an undated self‐portrait of Martens (ML28).
A photograph of the painting taken before it was cleaned in 1968 is at ML ZPI/M.
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110
No. 70
Title Moorea Island, Tahiti
Date [1841]
Medium Oil on board
Dimensions 25.3 x 33.4cm (10 x 13in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection Newcastle City Art Gallery ‐ gift of William Bowmore, O.B.E., in honour of Mrs Elma Whitehead, secretary of Woodlands Hospital for 24 years, 1984.
Publication
Reproduced Tom Silver, March 1983, p3, colour.
Selected Works, Newcastle City Art Gallery, 1984/85, p5, b/w.
Reviews ‐
Exhibition ? ‘Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 11.
Provenance Tom Silver, 1983; William Bowmore, 1984.
Notes
Based on the pencil sketch ‘Bunaauia or Bauder’s Point Feby 21/35’ (ML PXC299 f.16).
Possibly the work entitled ‘Moorea, Tahiti’ commissioned by ‘O.B.’ [Octavius Browne?] on 11 December 1841.
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111
No. 71
Title Residence of Dr James Mitchell, Cumberland Place, Sydney [House, Bunkers Hill]
Date 1842
Medium Oil on canvas laid down on board
Dimensions 33.0 x 48.3cm (13 x 19in)
Library No. ‐
Subject Group
Dated ‘1842’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection ‐
Publication‐
Reproduced Lawsons, 5 May 1976, cover, sepia.
Joseph Brown Gallery, Melbourne, Spring 1980, colour.
Leonard Joel, 1 August 1984, p19.
Chris Deutscher Gallery, June 1988, b/w.
Reviews ‐
Exhibition Joseph Brown Gallery, Spring 1980.
Provenance Lawsons 5 May 1976, cat no 161, $10500.
Joseph Brown, Spring 1980, cat no 5.
Leonard Joel 1 August 1984, cat no 55.
Chris Deutscher, June 1988, cat no 11, $120000.
Notes
This is most likely the work entitled ‘House, Bunkers Hill’ sold to W.A.Scott for 8 guineas on 9 March 1842. It is based on the pencil sketches ‘Dr Mitchell’s residence Feby 18./42’ (DL PX28 f.71) and ‘Dr Mitchells Residence 1842’ (ML PXC296 f.10). Bunkers Hill was the name for part of the present‐day Rocks area of Sydney. Martens was a resident there for a time (c1840‐44), in a house in Cumberland Street wherein Dr Mitchell’s residence was located. See Painted Panorma (Sydney, 1987) for an 1836 view of this house, by Charles Rodius.
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112
No. 72
Title Wiseman’s Ferry
Date 1848
Medium Oil on canvas
Dimensions 46 x 65cm (18 1/4 x 25 1/2in)
Library No. ‐
Subject Group
Dated ‘1848’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‐
Collection ‐
Publication AFR 18 July 1981 ‘Combes Sale brings out the worst in auctioneers’.
Reproduced Lawsons Paintings, (Catalogue), 8 July 1981, colour on cover; AFR, 18 July 1981, b/w.
Reviews ‐
Exhibition‐
Provenance Edward Combes, thence by descent.
Lawsons, 8 July 1981, cat no 72, $26000.
Notes
No reference to this work can be found within Martens’ ‘Account of Pictures’. As it had been in the possession of the Combes family, it is possibly that the work was part of Martens’ personal collection and was either presented to Edward Combes in the 1870’s or passed on to the family following the artist’s death in 1878.
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113
No. 73
Title View of Sydney from Waverley
Date 1847
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’Exhibition of the Society for the Promotion of the Fine Arts in Australia’, Sydney, 1847, cat no 277.
Provenance Dr Cumberland, 1847.
Notes
Sold by the artist to Dr Cumberland on 19 March 1847 for 12 guineas, wherein it was titled ‘Sydney from Waverley’.
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114
No. 74
Title Musipula
Date [1861]
Medium Oil
Dimensions 30.4 x 35.5cm (12 x 14in)
Library No. ‐
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection ?
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance E.T.Blackett, 1861.
Notes
On 3 May 1861 Martens sold a work in oil entitled ‘Musipula’ to his friend Edmund Blackett, the architect, for 6 guineas.
‘Musipula’ was a classical study based on a work after Sir Joshua Reynolds. A copy had been shown in the Exhibition of the Society for the Promotion of the Fine Arts in Australia, in Sydney during 1847 by a Mr Entwistle (cat no 90).
The present location of the 1861 oil by Martens is unknown.
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115
No. 75
Title Cabbage Tree Gully, Illawarra
Date 1846
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’Loan Exhibition’, Art Gallery of New South Wales, 1897, cat no 55.
Provenance Dr P.Sydney Jones, M.D.
Notes
Possibly refers to the oil ‘Lake Illawarra 1844’ (cat no 56).
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116
No. 76
Title The Artist’s House, Sydney [Rockleigh Grange, St Leonards]
Date [c.1850]
Medium Oil on canvas mounted on cedar panel
Dimensions 26.7 x 45.8cm (10 1/2 x 18in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed Former Royal Geographical Society labels on verso, in ink: The home of Mr Conrad Martens / artist to HMS Beagle / Sydney / NSW / X565 / 023533 X565 / 6CC
Collection Private
Publication George French Angas, Savage Life and Scenes in Australia and New Zealand, Smith, Elder & Co., London, 1847.
Joan Kerr & James Broadbent, Gothick Taste in the Colony of New South Wales, David Ell Press, Sydney, 1980.
Reproduced Christies London Sale, 2 November 1979, plate 163, colour.
Kerr & Broadbent, op cit., p105, b/w.
&, The Artist and the Patron, Art Gallery of New South Wales, 1988, p144, colour.
Reviews The following description of Rockleigh Grange and the surrounding property was given by George French Angas, who visited there in July‐August 1845:
‘In a spot embowered by the shade of a grove of eucalyptus, and overlooking one of the most lovely prospects in New South Wales, my friend Martens, who was draughtsman to the expedition of the Beagle, has chosen to locate himself and his family, and has built a snug picturesque cottage in keeping with the charming seclusion selected for its site. Below the garden is a deep dell, through which runs a gurgling stream, almost choked with the luxuriance of the flowers that surround it; amongst which the gay warrator rears its crimson‐blossomed head, like a huge peony. Here and there the decaying and whitened branches of some aged gum‐tree stretch their leafless arms against the blue sky, whilst the distant scene embraces the windings of the harbour, backed by the far off range of the Blue Mountains.’ (G.F.Angas, op cit., Volume II, p205)
Exhibition ’The Artist and the Patron’, Art Gallery of New South Wales, 1988, cat no 130.
Provenance Henry Martens, c1850.
Royal Geographical Society. 117
Christies, London, 2 November 1979, cat no 163, £13000.
Notes
The following notes concerning this work were originally printed in the catalogue for ‘The Artist and the Patron’ exhibition of 1988:
In 1844 Martens designed a cottage ornee, taken from Loudon’s Encyclopaedia of Cottage, Farm, and Village Architecture, for his wife and family on land owned by Jane Martens across the harbour at St Leonards (as North Sydney was formerly known). The family already consisted of two daughters, Rebecca and Elizabeth, while a son was born, and subsequently buried, after the move.
Martens also designed a Gothic painting room attached to the house, which was frequently sketched by both he and Rebecca during their long period of residence. Despite the latter structure’s charm, it was apparently quite unsuitable as a studio and in numerous letters, martens complained about the all‐pervading summer heat and winter cold. Rockleigh Grange was eventually inherited by Rebecca but after her death, its new owner carried out extensive changes. Since 1916 it has been occupied by the Roman Catholic Vicar Apostolic.
This is the only known finished view of the house and may have been painted as a gift for martens’ brother, henry, in England. The inclusion of the foreground Aborigines provides a somewhat self‐conscious locational key, which was also used in Martens’ first lithographic view of Sydney, published in 1842.
Although undated, Rockleigh Grange was probably executed between about 1844 and 1850. There is no apparent record in Martens’ Account Book but as the artist’s documented portraits of his daughters do not appear there either, it could well have been a private commission. One possible clue is the large oil, View of Sydney from St Leonards, which was painted in 1851 for James Levick, a former patron who had since returned to London. Martens personally supervised the freight arrangements and in a subsequent letter informed Levick ‘I have with the consent of Mr Piper taken the advantage of your case to enclose a picture for my brother ‐ which I have promised him. I will direct him to call upon you for it.....’ Another letter of 18 March 1851, to Henry Martens, noted ‘I have availed myself of the permission to place in the same case a picture for you.’
Rockleigh Grange was owned for many years by the Royal Geographic Society, London before being de‐accessioned and sent to auction in 1979.’ (McDonald & Pearce, op cit., pp143‐45).
Prior to moving to Rockleigh Grange, Martens had variously resided in, and worked from, a room above G.W.Evans’s bookstore in Bridge Street (c1835‐40) and later moved to a house / studio in Cumberland Street, the Rocks, where he and the family lived until their St Leonards cottage was completed around 1844.
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118
No. 77
Title Airdrie Castle, Scotland [Compton Castle near Totness, Devon]
Date [1857]
Medium Oil on canvas
Dimensions 30.7 x 41cm (12 1/8 x 16 1/8in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed Indistinctly inscribed with inscription ‘Airdrie Castle, Scotland’ on the stretcher.
Collection ‐
Publication‐
Reproduced Topographical Pictures, Christies, London, October 1987, p81, colour.
Reviews ‐
Exhibition‐
Provenance Edmund Blackett, 1857; Christies, London, October 1987, cat no 168, titled ‘Landscape with figures by a tower’.
Notes
It is possible that the above oil painting is the work entitled ‘Compton Castle near Totness, Devon’ sold to Edmund Blackett for 7 guineas on 12 January 1857.
This view is very similar to a pencil sketch entitled ‘Paignton July 29 [1830]’ in the Dixson Library (DL PX10 f.2). Paignton is a coastal town in Devon, a few miles south of Torquay and east of Totness.
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119
No. 78
Title Classical Landscape
Date
Medium Oil
Dimensions 18.5 x 27.5cm (7 1/4 x 10 3/4in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Lawsons, 22 March 1988, cat no 145.
Notes
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120
No. 79
Title Canal Scene, Venice
Date
Medium Oil
Dimensions 27.5 x 42.5cm (10 3/4 x 16 3/4in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Leonard Joel 23 March 1983, cat no 61.
Notes
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121
No. 80
Title The Valley of the MacDonald from the Road beyond Wisemans Ferry
Date 1840
Medium Oil on canvas
Dimensions 33 x 48.1cm (13 x 18 7/8in)
Library No. NGV *A1/1970
Subject Group ‐
Dated ‘1840’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection National Gallery of Victoria
Publication‐
Reproduced Christies, 6 March 1970, plate 22, colour.
Reviews ‐
Exhibition ’Exhibition of the Society for the Promotion of the Fine Arts in Australia’, Sydney, 1847, cat no 273, titled ‘The Valley of the M’Donald’.
Art Gallery of New South Wales, 1897, cat no 60, titled ‘Valley of the Macdonald, near Wiseman’s Ferry’.
‘Landfall: The Captain James Cook Bi‐Centenary Exhibition of Australian Art’, National Gallery of Victoria, 7 April to 30 June 1970.
Provenance Sir Alfred Stephens, 1840. ‐‐‐‐‐, 1897. A.Grimwade, 1963. Lawsons, 9 April 1963, cat no 735, 410 guineas. Dr F.J.Blaxland, 1963. Christies, 6 March 1970, cat no 22, $4500. National Gallery of Victoria.
Notes
This is one of a pair of works sold to Sir Alfred Stephens on 4 and 30 December 1840, for 8 guineas each, and respectively titled ‘Macdonald river from above Wisemans’ and ‘Macdonald River, Wisemans Road’. They were both offered for sale at Lawsons in 1963 by A.Grimwade, and purchased by Dr. F.J.Blaxland, who subsequently sold the pair at Christies in 1970. See also no.82 this catalogue for details of the companion work. This oil painting was also titled ‘The Valley of the MacDonald from the woods beyond Wisemans Ferry’ during the Lawsons sale of 1963.
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122
No. 81
Title The Macdonald River from above Wiseman’s Ferry
Date [c.1840]
Medium Oil on canvas
Dimensions 34.5 x 49.6cm (13 1/2 x 19 1/2in)
Library No. ‐
Subject Group ‐
Dated ‐
Signed ‐
Inscribed Taken from canvas when relined ‘For / Capt. Pockley / with C.Martens’ Compliments’
Collection ?
Publication ’Captain R.F.Pockley and "Lorne", Killara’, Newsletter of the Royal Australian Historical Society, June 1969, p6.
Reproduced Chris Deutscher, October 1986, colour.
Reviews ‐
Exhibition‐
Provenance Captain Pockley Chris Deutscher, October 1986, cat no 18.
Notes
This work is based on the original pencil sketch entitled ‘Macdonald River. Augst 8th [1838]’ (DL PX24 f.47). A near identical oil was sold by Sothebys in 1985 (refer no 82 this catalogue), and a larger (18 x 26in) version of the same scene is located in the Dixson Gallery collection, DG346 (refer no 16 this catalogue). The small size of this work suggests that it would have been sold for 8 guineas, and may be one of the following works
*’Macdonald River’, sold to G.McGaa Esq on 10 April 1839. *’Macdonald River’, sold to Gilchrist Esq 16 October 1839. *’Macdonald River from above Wisemans’, sold to Alfred Stephen on 4 December 1840. *’The Macdonald River above Wisemans’, sold to G.Clarke on 14 December 1840. *’Macdonald River, Wisemans Road’, sold to Alfred Stephen on 30 December 1840.
The above oil may be none of these works ‐ it may have been part of Martens’ personal collection and was presented to Captain Pockley at some stage. Though Martens does not record the presentation of the above work to Captain Pockley within in his account books, he does note the presentation of a small view of ‘Jemmy Buttons Island’ to the Captain on 4 April 1872. The ‘Capt Pockley’ referred to in the inscription was Captain Robert Francis Pockley (1823‐1892), a shipowner and harbourmaster at Sydney during the 1850’s. In 1853 he purchased land on the North Shore and built Pictonville house, where he settled with his wife, Selina Antill, whom he married in 1854.
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No. 82
Title The Macdonald River from Above Wiseman’s Ferry
Date 1840
Medium Oil on canvas
Dimensions 32 x 47cm (13 x 18 3/4in)
Library No. ‐
Subject Group ‐
Dated ‘1840’ l.r.
Signed ‘C.Martens’ l.r.
Inscribed ‐
Collection ?
Publication‐
Reproduced Christies, 6 March 1970, cat no 21, b/w; Sothebys, 16 April 1985, plate 19, colour.
Reviews ‐
Exhibition ’Exhibition of the Society for the Promotion of the Fine Arts in Australia’, Sydney, 1847, cat no 98 or 273.
Art Gallery of New South Wales, 1897, cat no 60, titled ‘Valley of the Macdonald, near Wiseman’s Ferry’.
ProvenanceSir Alfred Stephens, 1840. ‐‐‐‐‐, 1897. A.Grimwade, 1963. Lawsons, 9 April 1963, cat no 734, 410 guineas. Dr F.J. Blaxland, 1963. Christies 6 March 1970, cat no 21, $3600. Sothebys, 16 April 1985, cat no 19, $70000.
Notes
This is one of a pair of works sold to Sir Alfred Stephens on 4 and 30 December 1840, for 8 guineas each, and respectively titled ‘Macdonald river from above Wisemans’ and ‘Macdonald River, Wisemans Road’. They were both offered for sale at Lawsons in 1963 by A.Grimwade, and purchased by Dr. F.J.Blaxland, who subsequently sold them in 1970. See also no.80 this catalogue for details of the companion work. A larger oil painting by Martens of the same scene is located in the Dixson Gallery collection, DG346 (refer no 16 this catalogue), and a similarly sized work as the above oil was sold by Chris Deutscher in 1986 (refer no 81 this catalogue). All three oils are based on the pencil sketch ‘Macdonald River Augst. 8th [1838]’ (DL PX24 f.47).
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124
No. 83
Title Stalagmites, Burrangalong Cavern [Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern]
Date [May 1843]
Medium Oil on board
Dimensions 40.5 x 53.5cm (16 x 21in)
Library No. ‐
Subject Group
Dated Painted ‘on the spot’, May 1843
Signed ‐
Inscribed ‐
Collection Art Gallery of New South Wales
Publication Society for the Promotion of the Fine Arts in Australia, (Exhibition Catalogue), Kemp & Fairfax, Sydney, 1849, p13.
M.Mackay, ‘Notes on Conrad Martens’ Cave Paintings’, Thirty Victoria Street, Sydney, 1984.
M.Terry, ‘Curious Cavern ‐ Picturesque geology in Australian art’, The Australian Antique Collector, 33rd edition, Sydney.
Reproduced Barry Pearce, ‘Conrad Martens ‐ The Traveller Who Stayed’, Hemisphere, 1983, p7, colour.
Martin Terry, op cit., p49, colour.
Reviews Society for the Promotion of the Fine Arts in Australia, Sydney, 1849, cat no 341, ‘Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern’:
‘This Cavern was first explored and made known by R.Davidson, Esq., of Bathurst.....Nos. 341 and 344, were painted on the spot, and show the entrance to this wild and romantic abode.’
Sydney Morning Herald, 2 June 1849:
Nos. 338, 341, 344, 346. ‐ Burrangallong Cavern.‐ C.Martens.‐ Property of Mr. Martens.‐ It is to be lamented that this clever artist does not keep his eccentricities under proper controul. We have here, on a small scale, what might be four scenes for a play to be termed "Much ado about Nothing! The drawing in each is harsh and rude beyond necessity, and the shadows are mere darkness. The introduction of so outre an object as an artist’s easel, apparently as a sort of advertisement, is a piece of childish affectation.
Exhibition ’Society for the Promotion of the Fine Arts in Australia’, Sydney, 1849, cat no 341, ‘Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern’.
‘The Blue Mountains’, S.H. Ervin Museum and Art Gallery, 1982, cat no 35.
125
Provenance Herbert & Mary Cosgrove.
Lawsons, Mrs Mary Cosgrove Estate, 10 December 1963, cat no 629, 85 guineas (offered by Stanley Lipscombe).
Art Gallery of New South Wales.
Notes
Painted ‘on the spot’ at the Burrangalong Cavern in May 1843. This is a companion work to ‘Return View of the Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern’ (Art Gallery of South Australia), which was also painted ‘on the spot’ (refer no 84 this catalogue).
Though offered for sale at the 1849 Sydney exhibition, Martens does not record the sale of this work in his account book. Perhaps it failed to sell due to the scathing reviews it and his other cave paintings received from the Herald critic. Its history from that point on is unknown, until it appeared for sale at Lawsons in 1963, as part of the Mary Cosgrove estate.
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126
No. 84
Title Burrangalong Cavern [Return View of the Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern]
Date [May 1843]
Medium Oil on canvas
Dimensions 42.1 x 58.7cm (16 5/8 x 23in)
Library No. ‐
Subject Group ‐
Dated Painted ‘on the spot’ May 1843
Signed ‐
Inscribed Section of torn label on back of stretcher, in handwriting ‘....Burrangalong Cavern painted on the spot. C.Martens.’
Collection M.J.M.Carter Collection, Art Gallery of South Australia
Publication Society for the Promotion of the Fine Arts in Australia, (Exhibition Catalogue), Kemp & Fairfax, Sydney, 1849, p13.
M.Mackay, ‘Notes on Conrad Martens’ Cave Paintings’, Thirty Victoria Street, Sydney, 1984.
M.Terry, ‘Curious Cavern ‐ Picturesque geology in Australian art’, The Australian Antique Collector, 33rd edition, Sydney.
Reproduced The Artist and the Patron, Art Gallery of New South Wales, 1988, p73, b/w.
Reviews Society for the Promotion of the Fine Arts in Australia, Sydney, 1849, cat no 344, ‘Return View of the Stalagmitic Columns’:
‘This Cavern was first explored and made known by R.Davidson, Esq., of Bathurst.....Nos. 341 and 344, were painted on the spot, and show the entrance to this wild and romantic abode.’
Sydney Morning Herald, 2 June 1849:
‘Nos. 338, 341, 344, 346. ‐ Burrangallong Cavern.‐ C.Martens.‐ Property of Mr. Martens.‐ It is to be lamented that this clever artist does not keep his eccentricities under proper controul. We have here, on a small scale, what might be four scenes for a play to be termed "Much ado about Nothing! The drawing in each is harsh and rude beyond necessity, and the shadows are mere darkness....’
Exhibition ’Society for the Promotion of the Fine Arts in Australia’, Sydney, 1849, cat no 344, ‘Return View of the Stalagmitic Columns’; ‘The Artist and the Patron’, Art Gallery of New South Wales, 1988, cat no 51.
Provenance Herbert & Mary Cosgrove.
127
Lawsons, Mrs Mary Cosgrove Estate, 10/12/1963, lot 628, un‐sold (offered by Stanley Lipscombe).
Lawsons, 29/9/1964, lot 357, 55 guineas (offered by Stanley Lipscombe).
J.Young, 1964.
Geoff K.Grey, November 1983, lot 160, $16000.
Thirty Victoria Street, 1984, $65000.
Art Gallery of South Australia.
Notes
Painted ‘on the spot’ at the Burrangalong Cavern during May 1843. This is a companion work to ‘Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern’ (Art Gallery of New South Wales), which was also painted ‘on the spot’ (refer no 83 this catalogue).
An almost identical pencil sketch entitled ‘Burrangalong Cavern, South entrance. 1843’ (DL PX25 f.8) is known, but it was most likely taken in Sydney, sometime after the expedition.
Though offered for sale at the 1849 Sydney exhibition, Martens does not record the sale of this work in his account book. Its history from that point on is unknown, until it appeared for sale at Lawsons in 1963, as part of the Mary Cosgrove estate.
In the Geoff K.Grey catalogue of 1983 the above oil painting is referred to as ‘Members of an Expedition at the Burrangalong Cavern, 1843’. Around the time of that sale is was cleaned and conserved ‐ refer to the Conservation Report by Angela Meeson Pty Ltd, 20 October 1984, prepared for Thirty Victoria Street.
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128
No. 85
Title Gums
Date [c1840]
Medium Oil
Dimensions 17.8 x 28cm (7 x 11in)
Library No. ‐
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition The Cremorne Gallery, Sydney, 1970, cat no 3.
Provenance Cremorne Gallery, 1970.
Notes
See also no 100 this catalogue ‐ ‘Study of Trees’.
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129
No. 86
Title An Extensive View of Sydney Harbour [Sydney from the North Shore]
Date [c1840]
Medium Oil
Dimensions 44.5 x 63.5cm (17 1/2 x 25in)
Library No. ‐
Subject Group Aborigine, Man with gun
Dated ‐
Signed ? ‘C.Martens’
Inscribed ‐
Collection ‐
Publication‐
Reproduced Christies, London, 28 April 1977, plate 1, colour.
Reviews ‐
Exhibition‐
Provenance Christies, London, April 1977, cat no 272, £17000.
Notes
This work is most likely one of four views of ‘Sydney from the North Shore’ sold by Martens during 1840, namely
*’View Sydney from N.Shore’, sold to for 15 guineas on 8 February.
*’Sydney from N.Shore’ sold to Egleston Esq for 15 guineas on 17 June 1840.
*’Sydney from N.Shore’ sold to Esq for 15 guineas on 2 September 1840.
*’Sydney from N.Shore’ sold to John Edwards Esq for 15 guineas on 9 November 1840.
At the time, 15 guineas was the going price for an 18 x 26" oil painting, however without more detailed provenance information it is impossible to further identify this work. Refer also to nos. 20 & 21 this catalogue re similar works.
Torn in two places at time of Christies sale, 1977.
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130
No. 87
Title Wooded Landscape with a distant view of Sydney [View of Sydney from above Elizabeth Bay]
Date
Medium Oil on canvas
Dimensions 59.6 x 87.6cm (23 1/2 x 34 1/2in)
Library No. ‐
Subject Group
Dated ‐
Signed Rubbed out
Inscribed ‐
Collection John Swire & Sons Pty Ltd, Sydney.
Publication AFR 5 January 1978 ‐ notice of sale; AFR 21 June 1979 ‐ notice of purchaser.
Reproduced Christies, London, 28 April 1977, frontpiece, colour.
Reviews ‐
Exhibition‐
Provenance Christies, London, 28 April 1977, cat no 241, £19000; John Swire & Sons Pty Ltd, Sydney.
Notes
This view is taken from above Elizabeth Bay, and looks roughly north west towards Sydney. Elizabeth Bay House is seen in the left centre of the painting, with a ship in full sail off Garden Island to the right. Upon the rock ledge in the central foreground a Lady is seen seated, and being attended to by three male figures. Along the ridge in the middle distance can be distinguished the Rum Hospital complex, the Government House Stables, and Government House near Bennelong Point.
This is one of Martens’ most romantic and picturesque views of Sydney Harbour, and one of his greatest achievements in oil. The light and airy qualities of this oil suggest it was completed sometime after 1851, in which year his collaboration with the English artist Marshall Claxton had greatly improved his technique of working in oils.
Purchased by John Swire & Sons Ltd, England, and placed in their Australian Board Room, Sydney. Considered for purchased by the Art Gallery of New South Wales ‐ see Daniel Thomas’s Report to the AGNSW Acquisitions & Loans Committee, 15/4/1977.
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131
No. 88
Title Portrait of Robert Campbell
Date [1847]
Medium Oil on canvas
Dimensions 57.1 x 46.3cm (22 1/2 x 18 1/4in)
Library No. ML538
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection Mitchell Library ‐ presented by H.W.Campbell, 1950.
Publication Eve Buscombe, Artists in Early Australia and Their Portraits, Eureka Press, Sydney, 1979, pp 202.1, 203, 210.
Joan Kerr & Hugh Falkus, From Sydney Cove to Duntroon, Gollancz, Melbourne, 1982.
Reproduced Rex Reinits (ed.), Australia’s Heritage, Paul Hamlyn, Sydney, 1970, p265, colour.
Reviews ‐
Exhibition‐
Provenance Campbell Family, 1847‐1950.
Notes
On 8 February 1847 Martens sold a work entitled ‘Portrait of Mr Campbell (copy)’ for 12 guineas. ‘Mr Campbell’ undoubtedly refers to Robert Campbell (1769‐1846), merchant of Wharf House, Sydney Cove, who had died on 16 April 1846 at Duntroon, Canberra, and was buried at St John’s Parramatta. The Campbell family, patrons of the artist since his arrival in Australia in 1835, obviously commissioned this work as a memorial to their recently departed father. Robert’s wife, Sophia (1777‐1833), is recognised as Australia’s first woman artist, having produced watercolour views of the Colony from c.1800. The family therefore had a sincere interest in the arts, and members continued to purchase works by Martens up until 1877, the year prior to his death. The painting executed by Martens in 1847 is possibly the unattributed, undated portrait in oil of Robert Campbell in the Mitchell Library collection, which in turn is a copy of an 1834 crayon and charcoal full‐length portrait by Charles Rodius (refer E. Buscombe, op cit., p202.1). Another smaller, head and shoulders only, portrait of Campbell is also held by the Campbell family and is similar to the 1834 Rodius drawing (refer Kerr & Falkus, op cit., p7). Though Martens was not widely known as a portrait painter, he was nevertheless skilled enough to produce a competent portrait when the need or commission arose. His own self portrait and portraits of his daughters attest to this fact.
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132
No. 89
Title A View of Sydney Harbour [View from Craigend]
Date [c1840]
Medium Oil on canvas
Dimensions 43.7 x 67cm (17 1/4 x 25 1/4in)
Library No. ‐
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection Private
Publication‐
Reproduced Christies, London, 2 November, 1979.
Reviews ‐
Exhibition‐
Provenance Richard Nagey, London; Christies, London, 2 November 1979, cat no 135, £12000.
Notes
Based on the original pencil & watercolour sketch titled ‘Rushcutters Bay, Sydney, from Darlinghurst 1839’ (ML PXC296 f.4). A later, similar, pencil sketch entitled ‘View from Craigend, April 1841’ (ML PXC971 f.4) is also known.
This oil in question is similar to ‘Rushcutters Bay, Sydney, from Darlinghurst, 1841’ (no 14 this catalogue), and may be the work entitled ‘View from Craigend’ sold to H.Icely for 15 guineas on 4 January 1840.
Sold on behalf of the Royal Geographical Society in 1979.
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133
No. 90
Title Overlooking the Harbour, Sydney
Date
Medium Oil on canvas
Dimensions 36 x 45cm (14 1/4 x 17 3/4in)
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed
Collection
Publication
Reproduced Earl Gallery, 1988, p2, colour.
Reviews
Exhibition ’Exhibition of Australian Painting’, Earl Gallery, 1988, cat no 1.
Provenance Earl Gallery, 1988, $2400.
Notes
The Earl Gallery catalogue states: ‘Letter of authenticity attached signed by Douglas Dundas author of "Conrad Martens". This painting was originally catalogued by Bonham’s in 1981 as "Martens". The painting was subsequently identified by Dundas as being an original Australian work by Martens.’
It is extremely doubtful if this painting is by Martens, for a number of reasons:
*The foliage and trunks of the trees in the left portion of the painting are coarser than was usual with Martens.
*The figure seated on the rock in the foreground is unlike Martens’ figures.
*The overall structure of the work also raises doubts, with the usual spacious central distance of a Martens painting missing from this work. The bush forming the forground of this work almost overwhelm the painting.
*Even the dimensions of the work (c14 x 17in) are unconventional for a Martens work ‐ MO.
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134
No. 91
Title Self‐Portrait of Conrad Martens
Date [December 1848]
Medium Oil on board
Dimensions 29.4 x 22.8cm; framed 44.5 x 37cm (11 7/8 x 9 1/4in)
Library No. ML28
Subject Group
Dated ‐
Signed ‐
Inscribed Plague on frame states ‘Conrad Martens 1840’.
Collection Mitchell Library ‐ presented by Miss A.H.Combes, of Fonthill, Lake Bathurst, 14 November, 1921.
Publication Guide to Pictures on Display in the Mitchell and Dixson Galleries and other Rooms Opened to the Public, Public Library of New South Wales, 1967, p8.
Eve Buscombe, Artists in Early Australia and Their Portraits, Eureka Press, Sydney, 1979, p98.
Reproduced Buscombe, op cit., p227 & p244, b/w.
Australian Pioneers (National Trust Desk Diary, 1988), Sydney, opposite April 4‐10, colour.
Reviews ‐
Exhibition ’Our Origins ‐ From Penal Camp to Parliament’, Mitchell Library, 1973, cat no 215, titled ‘Portrait of Conrad Martens, attributed to himself, c1840’.
‘Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 48, titled ‘Portrait of Conrad Martens, possibly by Martens or Maurice Felton, c1840’.
‘Conrad Martens in Queensland’, Queensland Art Gallery, 1978, cat no 1.
Provenance Miss A.H.Combes, 1921.
Notes
In his ‘Notes on Painting’ made around December 1848, Martens records an entry under the heading ‘Portrait ‐ oil’. Perhaps this refers to the above oil painting, as it portrays the artist aged about 50 years (based on comparisons with other dated portraits and photographs).
Some doubts exists regarding the provenance of this work, and how it came to be in the Mitchell Library collection ‐ reference should be made to the notes concerning attribution of this and other Martens portraits in the Mitchell Library at section entitled ‘Attribution of Conrad Martens Portraits’.
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135
No. 92
Title Commissioner Henry Bingham, with his horse
Date [c1850]
Medium Oil
Dimensions Oval ‐ diameter 16 1/2in, in gilt wooden frame 19 7/8in diameter.
Library No. ML632
Subject Group
Dated ‐
Signed ‐
Inscribed Titled on label on back ‘Commissioner Henry Bingham died August 1852’ with added notes about his descendants in another hand.
Collection Mitchell Library ‐ on loan for an extended period by Mr & Mrs L.W.O.Martin.
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Mr & Mrs L.W.O.Martin.
Notes
Mitchell Library note: Attribution to Martens is uncertain, and is based on information contained in the following letter from Mr John Young to Mrs A.C.Ebsworth (PXn148):
John Young 3 Castlereagh St Restoration and Valuation Sydney, Decr 18th 1941 of Works of Art
Mrs A.C. Ebworth Edgecliff Rd Woollahra
Dears Mrs Ebsworth Though I have not been able to find any signature on the portrait of Com. Bingham and his horse, I am convinced that it is from the hand of Conrad Martens. In the cleaning it has become obvious to me that his pallette, his technique & his drawing are there, and that the little apparent credit is due, probably, to lack of interest, in as much that he was essentially a landscape painter. Yours Very Sincerely John H. Young
No record of the disposal of this portrait is to be found in Martens’ account books. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 136
No. 93
Title Near Wisemans Ferry, N.S.W.
Date
Medium Oil
Dimensions 30.4 x 40.6cm (12 x 16in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Little’s, Sir Thomas Anderson Stuart sale, 18 May 1920, lot 82.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
137
No. 94
Title Lake Landscape, Illawarra
Date 1848
Medium Oil on canvas
Dimensions 45.1 x 64.8cm (18 x 26in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’Conrad Martens Centenary Exhibition, S.H. Ervin Museum and Art Gallery, 1978, cat no 54a.
Provenance Joseph Brown Gallery, 1978.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
138
No. 95
Title The Waterfall
Date
Medium Oil
Dimensions 53.5 x 43.3cm (21 x 17in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Lawsons, 27 November 1962, lot 610, withdrawn; Lawsons, 10 December 1963, lot 627, offered by S.Heysen, no sale.
Notes
Note in Lawsons catalogue (1963) states: ‘This painting is unsigned but the owner states he has traced it back to 1890 and further that he has shown it to Sir Lionel Lindsay and the late Will Ashton, who both confirmed it; Robert Campbell and Sir Hans Heysen, he says, are of the same opinion.’
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
139
No. 96
Title Port Famine, Straits of Magellan, the anchorage of H.M. ships ‘Adventure’ and ‘Beagle’, off and on, 1827‐30
Date
Medium Oil
Dimensions 19.7 x 25.5cm (7 3/4 x 10in)
Library No.
Subject Group
Dated
Signed ? ‘C.Martens’
Inscribed
Collection ?
Publication
Reproduced
Reviews
Exhibition
Provenance Lawsons, 27 September 1946, lot 513.
Lawsons, 22 February 1966, cat no 304, $240.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
140
No. 97
Title Landscape
Date
Medium Oil
Dimensions
Library No. ML PXC296 f.3
Subject Group
Dated
Signed
Inscribed
Collection Mitchell Library
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
141
No. 98
Title Landscape study
Date
Medium Oil
Dimensions 21.8 x 25.6cm (8 1/2 x 10in)
Library No. DL PX28 f.45
Subject Group
Dated
Signed
Inscribed
Collection Dixson Library
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
142
No. 99
Title Liverpool Ranges
Date
Medium Oil
Dimensions 13 x 22cm (5 1/8 x 8 5/8in)
Library No. DL PX31 f.10
Subject Group
Dated
Signed
Inscribed
Collection Dixson Library
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
143
No. 100
Title Study of Trees
Date
Medium Oil
Dimensions 20.5 x 30.5cm (8 x 12in)
Library No. ‐
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Mort family; Christies, London, June 1985, $3650; S. de Vries‐Evans; Beronia Gallery; Private collection, Sydney.
Notes
Supposed to portray the green oak tree after which T.S.Mort’s Greenoaks proprty at Sydney was named.
See also no.85 this catalogue.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
144
No. 101
Title On the Parramatta River
Date
Medium Oil on canvas laid down
Dimensions 20 x 26cm (7 7/8 x 10 1/4in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Goodman & Co., 20 April 1982, cat no 158.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
145
No. 102
Title The Road
Date
Medium Oil
Dimensions 33 x 47cm (13 x 18 1/2in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Peter Pickles, 23 November 19?, lot 207.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
146
No. 103
Title The Little Hartley Fort
Date
Medium Oil on canvas
Dimensions 37 x 70cm (14 1/2 x 27 1/2in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Peter Pickles, June 1979, $1000.
Leonard Joel, November 1979, lot 1223A, titled ‘Colonial Outpost’.
Leonard Joel, 5 November 1980, lot 21, $2000.
Notes
Attributed to Martens.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
147
No. 104
Title The Source of the Grose
Date
Medium Oil
Dimensions 45.7 x 66.2cm (18 x 26in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Mr Baxter, 1961.
Lawsons, 27 June 1961, lot 496, £141.15.0.
Kenneth, 1961.
Notes
Sold by a Mr Baxter, and purchased by Kenneth R. Stewart (or vice versa).
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
148
No. 105
Title South American Landscape
Date
Medium Oil on panel
Dimensions 26 x 38.5cm (10 1/4 x 15 1/8in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Geoff K.Gray, 23 November 1976, lot 284.
Notes Attributed to Martens.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
149
No. 106
Title Mountain and Glade
Date
Medium Oil
Dimensions 21.7 x 29.3cm (8 1/2 x 11 1/2in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’110 Years of Australian Art’, Blaxland Galleries, Sydney, 1950, titled ‘Mountain and Lake’.
‘Norman Schureck Loan Exhibition’, AGNSW, June 1958, cat no 71.
Provenance Lawsons, Norman Schureck sale, 27 March 1962, cat no 122, £260; Clune Galleries.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
150
No. 107
Title View on Macquarie River
Date [1841]
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 52.
Provenance Littles, R.T.Carter Estate, 13 May 1919, lot 359, 70 guineas; S.Petersen, 1919.
Notes
Possibly the work entitled ‘View on the Macquarie’ sold to J.Bell for 8 guineas on 17 May 1841.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
151
No. 108
Title The South Coast, NSW
Date
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Lawsons, 14 October 1947, lot 376.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
152
No. 109
Title Brush at Illawarra
Date [1838]
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
Martens records the sale of the above oil to George McLeay on 26 May 1838, for £2.10. its present location is unknown.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
153
No. 110
Title Wentworth Falls
Date
Medium Oil
Dimensions 50.6 x 76.1cm (20 x 30in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Dominion Gallery, November 1963, 625 guineas.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
154
No. 111
Title Govetts Leap
Date
Medium Oil
Dimensions 60.8 x 40.6cm (24 x 16in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Dominion Gallery, May 1964, 150 guineas.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
155
No. 112
Title Scene on the South Coast
Date 1841
Medium Oil
Dimensions 48.3 x 62.4cm within frame; 65.1 x 79.3cm framed. (19 x 24 1/2)
Library No. DG171
Subject Group
Dated From plague beneath picture
Signed ‐
Inscribed Titled as above from plague beneath picture.
Collection Dixson Gallery ‐ presented by Sir William Dixson, 1929.
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Sir William Dixson, 1929.
Notes
Doubtful if by Martens (MO). The figures and animals are similar to those by Thomas Balcombe.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
156
No. 113
Title Sydney from the North Shore
Date
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Lawsons, 15 February 1938, Dame Edith Walker collection, lot 837.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
157
No. 114
Title An Australian Bush Scene
Date
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Lawsons, 25 September 1924, Airey sale, lot 8, 22 guineas.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
158
No. 115
Title Sydney Town
Date c1845
Medium Oil
Dimensions 50.6 x 60.8cm (20 x 24in)
Library No. ‐
Subject Group ‐
Dated
Signed
Inscribed
Collection
Publication
Reproduced Christies, September 1970, lot 87.
Reviews
Exhibition
Provenance Christies, 16 September 1970, lot 87, $6000.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
159
No. 116
Title Morning, Sydney Harbour
Date
Medium Oil on canvas
Dimensions 48 x 66.2cm (18 1/2 x 26in)
Library No. ‐
Subject Group
Dated ‐
Signed ? ‘C.Martens’
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition‐
Provenance Lawsons, John Young Collection, 7 May 1922, lot 266.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
160
No. 117
Title View of Sydney harbour, from ‘Craigend’, Darlinghurst
Date
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’Loan Exhibition’, Nation Art Gallery of New South Wales, Sydney, 1897, cat no 54.
Provenance Miss Priddle, 1897.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
161
No. 118
Title Scotch Lake Scene [Lock Katrine]
Date
Medium Oil on canvas
Dimensions ‐
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced The W.A.Little Collection of Valuable Pictures, James R.Lawson, Sydney, 20 November 1926, p21, b/w.
Reviews ‐
Exhibition ’Loan Exhibition’, Nation Art Gallery of New South Wales, Sydney, 1897, cat no 54, titled ‘Scotch Lake Scene’. Lent by A.H.Macarthur.
Provenance A.H.Macarthur, 1897.
W.A.Little, 1926.
James R.Lawson, Sydney, 20 November 1926, lot 177, titled ‘Loch Katrine’, 30 guineas.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
162
No. 119
Title Sydney Harbour
Date
Medium Oil
Dimensions ‐
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’An Exhibition of Pictures & Prints of early Sydney and New South Wales’, Blackland Gallery, 16 September 1920, lot 26.
Provenance‐
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
163
No. 120
Title Portrait of Conrad Martens’ Mother, by Mugford
Date
Medium Oil
Dimensions ‐
Library No. ‐
Subject Group ‐
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 289, titled ‘Portrait of Conrad Martens’ Mother (oil)’. Lent by Miss Martens.
Provenance Miss Rebecca Martens 1987.
Notes
The subject of this work is Rebecca Martens (nee Turner), the wife of John Henry Christopher Martens. When the artist’s father died in 1816, Mrs Martens was left to raise her four children, including Henry (1790‐1860), John William, Mary Anne, and Conrad (1801‐1878). Shortly after Mr Martens’ death, the family moved from London to Exeter, in Devon. it was in this region that Conrad was to spend his formative years and take up his studies in art under Anthony Van Dyke Copley Fielding.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
164
No. 121
Title Near Ivy Bridge, Devon
Date [September 1848]
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition ’Second Exhibition’, Society for the Promotion of the Fine Arts in Australia, Sydney, 1849, cat no 387, titled ‘Erme River, near Hoy Bridge, Devon’.
‘Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 61.
Provenance W.Fanning, 1849; R.T.Carter, 1897.
Notes
On 7 August 1849 Martens sold a work entitled ‘View on the Erme River near Ivy Bridge’ to William Fanning for 6 guineas, via an art union held in conjunction with the second exhibition of the Society for the Promotion of the Fine Arts in Australia. He refers to the painting of this work in his ‘Notes on Painting’ for September 1848.
Martens produced a number of pencil sketches and watercolour views of Ivy Bridge (Ivybridge), a Devonshire town located on the Erme River about 8 miles east of Plymouth, between 1827‐31.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
165
No. 122
Title On the Clyde, near Bateman’s Bay
Date
Medium Oil
Dimensions ‐
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’Loan Exhibition’, National Art Gallery of New South Wales, 1897, cat no 62.
Provenance Gerald Halligan, 1897.
Notes
Martens is not known to have visited this area of New South Wales’ south coast. This work could be a mistitling of one of the artist’s views of the Shoalhaven River, near Nowra, which he had visited in 1860.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
166
No. 123
Title Landscape
Date
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Lawsons, 25 November 1919, lot 2, 2 guineas
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
167
No. 124
Title A Creek on the South Coast
Date
Medium Oil
Dimensions
Library No. ‐
Subject Group
Dated ‐
Signed ‐
Inscribed ‐
Collection ‐
Publication‐
Reproduced‐
Reviews ‐
Exhibition ’An Exhibition of Pictures & Prints of early Sydney and New South Wales’, Blackland Gallery, 16 September 1920, lot 25.
Provenance‐
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
168
No. 125
Title [Scene near the Weatherboard Inn]
Date [1853]
Medium Oil
Dimensions 34 x 48in
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance E.F.Jenikens, 1853
Notes
Martens noted in his ‘Account of Pictures’ for 31 January 1853 the sale of a work entitled ‘Scene near the Weatherboard Inn’ to Edward F.Jenikens for 25 guineas.
This view is similar to that portrayed in the watercolour ‘Jamieson Valley...’ (Lindsay, 1968, plate 35).
The present locality of this work is unknown.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
169
No. 126
Title [The Black Eagle]
Date [1852]
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
Martens noted in his ‘Account of Pictures’ for 7 August 1852 the sale of a work entitled ‘The Black Eagle, oil’ to J. Massie for 5 guineas.
The present locality of this work is unknown.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
170
No. 127
Title [The Castaway]
Date [1853]
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
Martens noted in his ‘Account of Pictures’ for 1 May 1853 the sale of a work entitled ‘The Castaway, oil’ to Edwin Baldwin for 5 guineas. The present locality of this work is unknown.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
171
No. 128
Title [Coochin Run]
Date [1853]
Medium Oil
Dimensions 18 x 26in
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
Martens noted in his ‘Account of Pictures’ for 31 May 1853 the sale of a work entitled ‘Coochin Run’ to M.McLeay for 15 guineas. The present locality of this work is unknown.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
172
No. 129
Title [The Antiquary]
Date [1878]
Medium Oil
Dimensions
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance
Notes
Martens noted in his ‘Account of Pictures’ for 20 July 1878 the sale of a work entitled ‘The Antiquary in oil & frame’ to T.H. Fielding for £3. The present locality of this work is unknown.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
173
No. 130
Title Port Jackson, Sydney
Date
Medium Oil on canvas
Dimensions 58.6 x 90.1cm (23 x 35 1/2in)
Library No.
Subject Group
Dated
Signed
Inscribed
Collection
Publication Art Prices Current After 1950.
Reproduced
Reviews
Exhibition
Provenance Christies, London, 9 January (?July) 1954, £57; Edwards.
Notes
Refer nos 4 and 65 this catalogue.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
174
No. 131
Title The Walls, Florence
Date
Medium Oil on canvas
Dimensions 26.5 x 36.5cm (10 3/8 x 14 3/8in)
Library No.
Subject Group
Dated ?
Signed ‘C.M’
Inscribed ‘The Walls, Florence’
Collection
Publication
Reproduced
Reviews
Exhibition
Provenance Christies, Melbourne, 11 July 1977, lot 6, $80.
Notes
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
175
No. 132
Title View of Sydney, from St Leonards, 1842
Date [1847]
Medium Oil & watercolour over lithograph on paper
Dimensions 27.1 x 40.2cm
Library No. ML V*SpColl/Martens/31
Subject Group
Dated ‘1842’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‘Sydney from the North Shore, 1842’ l.r.
Collection Mitchell Library
Publication
Reproduced
Reviews
Exhibition
Provenance Reverend W.B. Clarke
Note
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
176
No. 133
Title View of Sydney, from St Leonards, 1842
Date [1847]
Medium Oil & watercolour over lithograph on paper
Dimensions 27.1 x 40.2cm
Library No. DG V*SpColl/Martens/2
Subject Group
Dated ‘1842’ l.l.
Signed ‘C.Martens’ l.l.
Inscribed ‘Sydney from the North Shore, 1842’ l.r.
Collection Dixson Gallery
Publication
Reproduced
Reviews
Exhibition
Provenance
Note
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
177
Appendix 1
Attribution of Conrad Martens Portraits
(ML17 & ML28)
Two Conrad Martens portraits in oil are located in the Mitchell Library collection, namely ML17 and ML28. ML17 is currently catalogued as an self‐portrait, undated; whilst ML28 is attributed to Conrad Martens or Maurice Felton, and dated c.1840. Differences between the two are as follows:
*ML17 is a large work, 29 x 24", whilst ML28 is only 11 1/2 x 9".
*In ML17 the figure is of half‐length to waist level, facing to the right, and showing a hand holding a pencil ‐ this position was common with posed portraits; in ML28 the figure is of the head and shoulders only, facing directly to the front, suggestive of a self‐portrait.
*The figure in ML17 is younger than that in ML28. The brown‐haired figure in ML17 is transformed into a greying‐haired, semi‐bald figure in ML28.
From the above information all we can determine with certainty is that ML17 presents the view of a younger Martens than that contained in ML28, however the ages of the figures portrayed could range from 30 to about 50 years. As Martens was born in 1801, ML17 shows him at the age of about 35‐45 years, whilst in ML28 he is aged about 45‐50. Further information can be gleaned from the provenance of each work, however it is in this area that confusion arises. According to Mitchell Library records (summarized in notes compiled by Suzanne Maurot during March 1969 and filed at PXn349), both works were donated to the Library during 1921 by Miss A.H.Combes, with one portrait formerly the property of Miss Myra Felton. These two ladies were: i.Miss A.H.Combes, of Fonthill, near Goulburn. Miss Combes was the daughter of Edward Combes, fellow artist and friend of Martens during his latter years. Some of Martens’ personal memorabilia, including family portraits, were left to Miss Combes by Miss Rebecca Martens, the artist’s daughter, who died in 1909. ii.Myra Felton (1835‐1920), artist, of Glenmore Road, Sydney. Myra Felton was the daughter of Maurice Felton (c1804‐1842). Dr Felton was a ship’s surgeon and skilled portrait and landscape artist, who worked in the Colony between September 1839 and the time of his death, on 30 March 1842. Myra Felton died in July 1920 and bequeathed a self‐portrait of her father Maurice Felton to the Art Gallery of New South Wales, from whence it was presented to the Mitchell Library. This portrait (ML457) bore the following label on the reverse: ‘Mau...... / Property of Myra Felton. Artist / ‘Veni’ Goodhope St. / Glenmore road. Sydney’.
According to contemporary records Miss A.H.Combes donated a single portrait of Conrad Martens to the Mitchell Library on 14 November 1921 ‐ this was supposedly the portrait catalogued as ML17. From the time of the donation of ML17, confusion has arisen concerning its attribution and relation to another, smaller, portrait of Martens (ML28) also acquired around that time, supposedly from Miss Combes, though there is some mystery concerning its acquisition. The confusion is aggravated by the fact that Miss Combes, in her correspondence with the Mitchell Library and Sir William Dixson between 1917‐21, does not refer to the identity of the authors of the two portraits, or the respective sizes of her donations. The following is a summary history of the debate surrounding the attribution of ML17 and ML28:
*1897 ‐ At the opening Loan Exhibition of the National Art Gallery of New South Wales, a ‘Portrait of the late Conrad Martens, Esq. (oil), by Dr. Maurice Felton, M.D.’ was shown (cat no 228), lent by Miss Myra Felton. Miss Felton at some stage passed the portrait on to the artist’s daughter Rebecca.
*1909 ‐ Miss Rebecca Martens dies and leaves all portraits of her father and family ‐ supposedly including the above portrait by Maurice Felton ‐ to Miss A.H.Combes.
178
*7 September 1917 ‐ Sir William Dixson writes to Miss Combes, holidaying in England, wherein he asks for a loan of the Conrad Martens portrait by Maurice Felton in her collection.
*25 November 1917 ‐ Miss Combes, in a letter of reply to Sir William Dixson, states:
‘...the portrait (which I have promised to the Mitchell Library) & sketchbooks are all packed up at ‘Fonthill’, Lake Bathurst....’
She therefore verifies by omission that the portrait in her possession was by Maurice Felton, though she only refers to one portrait.
*1919‐20 ‐ Lionel Lindsay’s Conrad Martens ‐ The Man and his Art is compiled, and released during October 1920.
*1920 ‐ ML17 is reproduced in Lindsay’s book as the frontpiece, wherein it is entitled ‘From a portrait in oils painted by himself. In the possession of Miss Combes of Fonthill.’ Apparently the portrait was unpacked for copying by Angus & Robertson.
Lionel Lindsay’s attribution is a surprise, for prior references to the work were as "by Maurice Felton". It is therefore highly likely that he was acting on information supplied by Miss Combes, who, according to later information supplied by her grand‐niece, believed the portrait to be a self‐portrait.
*late October 1921 ‐ Mr W.Ifould (Principal Librarian, Public Library of N.S.W.) meets with Miss Combes and presses her for the donation of the Martens material promised in 1917. Miss Combes agrees and passes the material over early in November.
*14 November 1921 ‐ The Mitchell Library Donations Register lists the work (ML17) as a ‘Self Portrait’. The Minutes of the Trustee’s meeting give under Special Donations:
"From Miss Combes. Portrait in oils of Conrad Martens, by the artist himself."
This attribution of ‘Self Portrait’ is therefore most likely based on information supplied by Miss Combes. As Myra Felton had died in June 1920, there was no one to dispute this claim up to this point, though anyone who had seen the work exhibited at the Art Gallery in 1897 would have questioned the attribution contained in Lindsay’s book. As both Sir William Dixson and G.V.F.Mann (Director of the N.S.W. Art Gallery) were intimately connected with the compilation of the book and selection of pictures, it is strange that they did not question this attribution.
*17 August 1922 ‐ In a letter to W.Ifould, Mr G.V.F.Mann states that the Martens portrait (i.e. ML17) donated by Miss Combes, was in fact a portrait by Maurice Felton. Mr Mann pointed out that it was the same portrait as exhibited by Myra Felton at the Art Gallery in 1897.
*August 1922 ‐ A memo from Mr Ifould’s secretary, Miss C.Rodd, to Mr Wright of the Mitchell Library, states:
"...Mr Ifould wants you to accept the statement from Mr Mann that the Conrad Martens portrait which we have so far regarded as a self‐portrait is a portrait of Martens painted by Felton. Apart from Mr Mann’s letter of 17th August, Mr Mann has assured Mr Ifould definitely that this [ML17] is the portrait he is referring to as having been in the Art Gallery and that Miss Felton owned it and stated it was by her father. Mr Mann also assured Mr Ifould that the style is exactly similar to the self‐portrait by Felton [ML457] in the Art Gallery."
{This is the strongest evidence we have that ML17 was wrongly designated a ‘self‐portrait’ by Miss Combes, Lionel Lindsay, and the Mitchell Library staff during the period 1920‐21.}
*22 August 1922 ‐ In a letter from G.V.F.Mann to W.Ifould, Mr Mann further notes that the Felton portrait of Martens (i.e. ML17) was exhibited at the Art Gallery in 1897.
*1923 ‐ The Public Library of New South Wales Annual Report for the year ended 30 June 1922 (ordered to be printed on 23 August 1923) accepts Mann’s opinion and lists the work (ML17) as ‘Surgeon Maurice Felton’s portrait 179 in oils of Conrad Martens; presented by Miss Coombes, of Vaucluse.’
*1945 ‐ S.Maurot states (March 1969) that in 1945 ML17 bore a label attributing it to Maurice Felton.
*1961 ‐ Douglas Dundas, in an article on Martens, captions ML17 as ‘Conrad Martens by Dr M.Felton’.
*1967 ‐ Work gets underway on the issue of a new edition of Lionel Lindsay’s book on Martens, to be published by Angus & Robertson. Mr Douglas Stewart, the editor, questions the attribution of ML17 to Maurice Felton. Mitchell Library staff investigate the problem.
*16 October 1967 ‐ A comparative analysis of the Martens portrait (ML17) and a portrait of Maurice Felton (ML457) is carried out by the Mitchell Library. The comparison of ML17 and ML457: ‘provides striking similarity in the brush strokes .... and the subtle colouring of the complexion seems to be identical...’
This gives rise to the conclusion that both ML17 and ML457 were painted by Conrad Martens, and both are re‐catalogued as such. The idea both were by Felton was not considered. Until this point no reference had been made to ML28, the smaller portrait of Martens.
*8 November 1967 ‐ In a letter from Mrs Joyce Combes (a relative of Miss A.H.Combes) to Douglas Stewart of Angus & Robertson’s, Mrs Combes assures Mr Stewart:
"I am quite sure that the self portrait [i.e. Ml17] of Conrad Martens was by him, as Miss Combes would have definitely known. She was a pupil of Conrad Martens as well as a personal friend, the portraits and other personal things were left to her by Miss Rebecca Martens. I had a copy of a letter from Miss Combes to the Mitchell Library, in which she said she had this self portrait of Conrad Martens and also one painted of himself when he was older the age when she knew him. Unfortunately this letter was destroyed some years ago. We do not know what she did with the older portrait."
Mrs Combes’ reference to a second Martens portrait indicates that ML28 was also donated by Miss A.H.Combes ‐ though possibly at a later stage ‐ and both were believed by her to be self‐portraits. Mr Douglas Stewart theen follows his predecessor Lionel Lindsay in basing his attribution on the advice of a member of the Combes family.
*1968 ‐ ML17 is reproduced with the title ‘Self‐portrait of the artist’ as plate 7 of the second edition of Lindsay’s book on Martens. Douglas Dundas in his Introduction reverses his view of 1961 and states:
"I should add that I am aware, as are the publishers, that the Martens self‐portrait (plate 7) has been attributed to his contemporary Maurice Felton; but after investigation at the Dixson Galleries and consultation with experts there I can find no convincing evidence that it was by the hand of Felton. In style and technique it is much closer to Martens’s undoubtedly authentic portrait of his daughter (plate 37) than it is to any known work by Felton."
*1969 ‐ Notes compiled by S.Maurot of the Mitchell Library state that the second portrait of Martens (ML28) at one time bore the following label on verso:
‘Portrait of Conrad Martens. 1840 / painted by Maurice Felton. M.D. / ‐ / Property of Myra Felton. Artist / ‘Veni’ Goodhope St. / Glenmore road / Sydney’.
The label (now filed at ML PXn138) was, in the opinion of this author, actually attached to the reverse of ML17. Its subsequent removal at an early date from ML17 is the main cause of the resultant confusion between ML17 and ML28. It is a vital piece of information and appears to have remained unknown to researchers such as Dundas and Stewart. Since the label’s removal it has been variously stated that it was originally attached to ML17 and ML28, thus giving rise to further confusion.
*Since 1969, ML28 has been referred to as ‘Portrait of Conrad Martens, possibly by Martens or Maurice Felton, c1840’; whilst ML17 has been titled ‘Self‐portrait of the artist’ in various books and exhibitions. ML28 currently bears an inscribed plaque on the frame stating ‘Conrad Martens 1840’.
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Summary
In the opinion of this author, ML17 is a portrait of Conrad Martens by Maurice Felton, executed in 1840. *ML28 is a self‐portrait of Conrad Martens, executed c.1848. Comparison of ML17 with other Felton portraits (e.g. ‘Portrait of John Richard Tindale, 1840’, The Artist and the Patron, AGNSW, 1988, cat no 45) confirms this view, with similarities in both colouring and style. In his ‘Notes on Painting’ for December 1848, Martens records an entry under the heading ‘Portrait, oil’ ‐ perhaps this refers to the small self‐portrait ML28. The Conrad Martens portrayed in ML28 is obviously a few years younger than the man seen in the 1856 photograph of the artist by W.Freeman, thereby enhancing the suggestion that ML28 was painted c.1848.
Portraits of Conrad Martens
June 1834 Self‐portrait, pencil, DL Pd279
1840 Portrait by Maurice Felton, oil, ML17 c1848 Self‐portrait, oil, ML28
1853 Portrait, by P.Nuyts, oil, DG266
1856 Portrait ‐ collodiotype photograph, Private c1865 Portrait ‐ photograph, seated on a chair with a hat on, DL
1870s Portrait ‐ photograph & watercolour, DL PX32 f.18
1870s Portrait, engraving
Portraits by Conrad Martens
1841 Aloi the Tanka Girl (copy, after Chinnery) ‐ unknown
Dec. 1844 Elizabeth Martens, oil, Private
1845 Rebecca Martens, oil, Private
1847 Robert Campbell (copy) ‐ ML598
1849 Joe Pashley ‐ unknown c1850 Commissioner Bingham and his Horse, ML632 n.d. Minature of an unknown man, possibly by Conrad Martens ‐ ML SPF/Martens, Conrad
Other n.d. Portrait of Conrad Martens’ Mother, by Mugford
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Appendix 2
Conrad Martens’ Cave Paintings
Conrad Martens, between the years 1840‐72, sketched and painted the following New South Wales cave systems ‐ Wellington Caves, Abercrombie Caves, and Wombeyan Caves. He visited Wellington Caves in 1840 and Wombeyan Caves in 1841, producing some rough pencil sketches. In May 1843 he made an extensive visit to the Abercrombie (Burrangalong) Caves, producing numerous pencil sketches and two oil paintings on the spot. He later produced major works with the Abercrombie Caves as the theme. The following sketches and paintings of New South Wales caves by Conrad Martens are known, along with works recorded in the artist’s ‘Account of Pictures’:
Wellington Caves
Interior of cave at Wellington. March 25/40 Pencil 18 x 27.2 ML PXC970 f.10
Wellington Caves Mar 25/40 Pencil 18.5 x 27.2 ML PXC970 f.11
Cave at Wellington Valley. J.Bell £8.8. Pd. E {Account of Pictures, 7 December 1840}
Wombeyan Caves
Wombean 31 Decr/1841 Pencil 20.1 x 24.2cm ML PX*D307‐2 f.9
Wombean Decr 31st 41 Pencil 15.9 x 22.9cm ML PX*D307‐2 f.10
Abercrombie (Burrangalong) Caves
North Entrance, Burrangalong Cavern on the Abercrombie May 18th 1843 Pencil 31.7 x 47cm DG*D18 f.10
Burrangalong Cavern on the "Abercrombie" May 21/43 Pencil 31.7 x 47cm DG*D18 f.9
View of South Entrance May 23 1843. Burrangalong Caves on the Abercrombie River Pencil 32.3 x 47.3cm DG*D18 f.6
View from the gallery South end May 23/43 Pencil 31.7 x 47cm DG*D18 f.8
Gallery and grand Archway, Southern End May 24th/43 Pencil 31.7 x 47.3cm DG*D18 f.7
North end of Cavern looking out May 25th/43 Pencil 31.7 x 47cm DG*D18 f.5
Burrangalong Cavern, South entrance. 1843 Pencil 21 x 29.2cm DLPX25 f.8
182
Stalagmites, Burrangalong Cavern 1843 Painted on the spot Oil on board 40.5 x 53.5cm AGNSW
Members of an Expedition at the Burrangalong Cavern 1843 Painted on the spot Oil on canvas 41 x 57cm AGSA
Burrangalong Cavern W/C 18.1 x 26.1cm DLPX25 f.9
Interior of Burrangalong Cavern. c1843 Oil 34 1/2 x 23 1/2" 87.9 x 60.5cm DG163
Burrangalong Cavern. Esq £15.15.
Entrance, Burrangalong Cavern. Esq. £12.12.
{Account of Pictures, 23 August 1843 ‐ ‘These two oils were almost certainly burnt in a fire in 1893 at ‘Greycliffe.’ At the time they were in the possession of Fitzwilliam, the son of W.C.Wentworth.’ Mackay, 1984, note 14.)
‘5 Sketches of Cavern. W.Brown Esq £10.10. Pd. wine’ {Account of Pictures, 13 November 1843} (Most likely ‐ ‘Burrangalong Cavern 1843’, 5 Wash drawings, exhibited at the Blaxland Gallery, 16 September 1920, cat no 42).
Burrangalong Cavern, view from the entrance 1844 P & W/C 23.1 x 32.7cm NK298 Inscribed in Martens’ handwriting.
Burrangalong Cavern, 50 miles south of Bathurst 1844 P & W/C 23.4 x 33.4cm NK299
View from the Burrangalong Caves 1844 Wash 20.3 x 28.1cm ANL abn83‐186110 Formerly NL R3310
Burrangalong Cavern 1844 Sepia wash 19.5 x 27.8cm ANL abn83‐186092 Formerly NL R3309 ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
1849
Exhibition for the Society for the Promotion of the Fine Arts in Australia, held at the Hyde Park Barracks, Sydney. Cave paintings exhibited by Martens (as noted in the catalogue) included:
* 338 Interior of Burrangalllong Cavern, Abercrombie River, N.S.W. Property of Mr C.Martens This Cavern was first explored and made known by R.Davidson, Esq., of Bathurst. The Gallery high up on the right of the Picture was occupied by the Artist during his sojourn of a week; Nos. 341 and 344, were painted on the spot, and show the entrance to this wild and romantic abode. (For Sale)
* 341 Stalagmitic Columns at the Southern Entrance of the Burrangallong Cavern. (Vide No.338) Property of Mr Martens. (For Sale)
* 344 Return View of the Stalagmitic Columns. (See No.341) Property of Mr C.Martens (For Sale)
183
* 346 Northern Entrance to Burrangallong Cavern Property of Mr Martens. (For Sale)
June 2, 1849 ‐ Review of the Sydney Exhibition, published in the Sydney Morning Herald:
Nos. 338, 344, 346. ‐ Burrangallong Cavern.‐ C.Martens.‐ Property of Mr. Martens.‐ It is to be lamented that this clever artist does not keep his eccentricities under proper controul. We have here, on a small scale, what might be four scenes for a play to be termed "Much ado about Nothing! The drawing in each is harsh and rude beyond necessity, and the shadows are mere darkness. The introduction of so outre an object as an artist’s easel, apparently as a sort of advertisement, is a piece of childish affectation.
August 7
1. Burrangalong cave, northern entrance Price Prize of purchased by J.Fairfax. £12.12. £5.
{Account of Pictures. Sold at an art union held in conjunction with the exhibition. This work was catalogue no.346.}
Burrangalong Cavern, Rockybridge Creek [c.1849] Oil 47.6 x 65.6cm ML98 Provenance ‐ J.Fairfax, 1849
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 1850
May 23. Small drawing of Cave on the Abercrombie. Mr Barber 1.10. {Account of Pictures}
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1854
December 14. Drawing on Wood. Abercrombie Cavern. 3.3. Pd. {Account of Pictures}
16 December ‘The Abercrombie Cave, near Bathurst’, woodcut by Conrad Martens, published in The Illustrated Sydney News, p441, with the following caption:
The Abercrombie Cave, near Bathurst. Our engraving represents the South‐west entrance of the cavern on Rockybridge Creek, about fifty miles South‐west of Bathurst, commonly called the Abercrombie Cave, and which was first explored by Surveyor Davidson. It is situated on the course of a stream, which has formed this magnificent tunnel nearly 800 feet in length, and contains an inexhaustible supply of white marble. It was in the vicinity of this cave that the white marble selected to be sent to Paris has been procured.
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1856
February 24 ‐ Letter to Henry Martens 184
‘The view in the Cave has been some time done, as you heard at the time of my cavern trip...... The picture has always been a favourite with me and I have more than once refused to part with it. I send you the small view of the cave by way of illustration’ (DL MS Q313 item 2, p1).
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1857
Fine Arts Exhibition, Sydney. Cave painting by Martens exhibited by John Fairfax:
* 269 Entrance to the Caves, Burrangalong Oil Owner: John Fairfax Esq.
Fairfax had purchased this work in August, 1849.
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1872
April 20. Abercrombie Cave. 26 x 18 Mr.Joseph 20gns. Pd {Account of Pictures. This is the work currently part of the Dixson Gallery collection, described as follows:
Wombeyan Caves 1872 W/C 45 x 64.5cm DG168 Illustrated, The Art of Conrad Martens, 1979, p.91, b/w. Exhibited at the Art Gallery of New South Wales in 1897, and in the ‘Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, 1978, cat no 128. Now catalogued as DGXV*SpColl/Martens/2. Similar view to NL R3310.
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1897
‘Loan Exhibition’, National Art Gallery of New South Wales, Sydney. The following cave paintings by Martens were exhibited:
* 59Abercrombie Caves. Oil Lent by R.T.Carter, Esq.
* 222Abercrombie Caves 1872. W/C Lent by Frank Moore, Esq.
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1920
Burrangalong Cavern 1843 5 Wash drawings Blaxland Gallery, 16 September 1920, cat nos 42 A,B,C,D & E. Most likely the works sold to J.Brown in November 1843.
185
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1922
Burrangalong Cavern 1843 5 Pencil & Wash Lawsons, 7 May 1922, cat nos 269‐273. From the John Young Collection. Most likely the works sold to J.Brown in November 1843, and exhibited at the Blaxland Gallery in 1920.
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1946
The Abercrombie Caves 1843 (3 Views) Lawsons, 29 May 1946, cat no 389. Possibly 3 of the 5 sketches purchased by J.Brown in November 1843.
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1963
Stalagmites ‐ South Entrance of Burrangalong Cave Oil 20 1/2 x 15 1/2" Lawsons 10/12/63 * 628 Mary Cosgrove Estate. One of 2 works painted ‘on the spot’ in May 1843. Re‐submitted in September 1964.
Interior, Burrangalong Cave Oil 22 1/2 x 16" Lawsons 10/12/63 * 629 £85g Mary Cosgrove Estate. One of 2 works painted ‘on the spot’ in May 1843. Purchased by the AGNSW.
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1964
Stalagmites, Southern Entrance, Burrangalong Caves Oil 15 1/2 x 20 1/2" Lawsons 29/9/64 * 357 £55g. Previously offered by Lawsons, in 1963. Later sold by G.K.Grey in 1983.
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1974
Cave Interior [Burrangalong Cave] W/C 17 x 27cm Leonard Joel June 1974 * 5 $300
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1978
‘Conrad Martens Centenary Exhibition’, S.H. Ervin Museum and Art Gallery, Sydney:
186
* 128 Wombeyan Caves 1872 W/C 45 x 64.5cm DG168
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1982
‘The Blue Mountains’ exhibition, S.H. Ervin Museum and Art Gallery, Sydney:
* 35 Stalagmites, Burrangalong Cavern c.1843 Oil 40.5 x 53.3cm AGNSW
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1983
Members of an Expedition at the Burrangalong Cavern 1843 Oil on canvas 41 x 57cm Geoff K.Grey 11/83 * 160 $16000 One of a pair, the other in the collection of the Art Gallery of New South Wales. Both were offered for sale at Lawsons 12/12/63, lots 628 & 629, Mary Cosgrove Estate. Refer Australian Financial Review 31/10/83. Purchased by Thirty Victoria Street.
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1984
Stalagmites at Southern Entrance Abercrombie Caves Oil on canvas 42 x 58.5cm 16 1/2 x 23in Thirty Victoria Street, December 1984 Unsigned. Undated. Sold to the Art Gallery of South Australia.
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1985
Burrangalong Cavern Watercolour on brown paper, heightened with china white 16.2 x 25.8cm Sothebys 24/10/85 * 104 $7500 Signed in pencil l.l. and inscribed with title l.r. Provenance ‐ R.T.Carter estate; sold with the contents of his house, Claines, Darling Point. See Thirty Victoria Street, 1988.
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1988
View from the Gateway, South end Abercrombie Caves, on the Abercrombie May 23/43 W/C & P on buff paper 9 7/8 x 11 7/8" 23.5 x 36cm Thirty Victoria Street 5/2/88 Inscribed ‘Burrangalong Cavern’ l.r. Inscribed verso in pencil ‘View from the Gateway ‐ Southend ‐ May 23/43 Abercrombie Caves ‐ on the Abercrombie’. Provenance ‐ estate of R.T.Carter. Purchased from Sotheby’s 24/10/85 lot 104. Sold to Ballarat Fine Art Gallery.
187
‘The Artist and the Patron’ exhibition, Art Gallery of New South Wales, Sydney:
* 51 Burrangalong Cavern c.1849 Oil 42.1 x 58.7 AGSA (Illustrated)
Oil Paintings
36 Burrangalong Cavern ML98 [Northern Entrance to Burrangalong Cavern, c.1849] *346
51 Wombeyan Caves DG163 [Interior of Burrangalong Cavern, Abercrombie River, N.S.W., 1843] *338
83 Stalagmites, Burrangalong Cavern 1843 AGNSW [Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern, May 1843] *341
84 Burrangalong Cavern 1843 AGSA [Return View of the Stalagmitic Columns at the Southern Entrance of the Burrangalong Cavern, May 1843] *344
Bibliography
Lyell, Charles; Principles of Geology, London, 1830‐33.
Mitchell, T.L.; Three Expeditions into the interior of Eastern Australia, 2nd edition, 1839.
McDonald, P.; The Artist and the Patron, Art Gallery of New South Wales, Sydney, 1988.
Terry, M.; ‘Curious Caverns ‐ Picturesque geology in Australian art’, The Australian Antique Collector, 33rd edition, Sydney.
Trickett, O.; The Abercrombie Caves, New South Wales. From a description prepared by O.Trickett, Government Tourist Bureau, Sydney, 1906.
188
Appendix 3
Southern Tablelands Views
The Corale, Bungonia July 19
The Corall, Bungonia July 25 [1836] P 29.3 x 20.4 ML PXC295 f.102
Bungonia Creek. July 26/36 P 19.7 x 28.8 ML PXC284 f.8
Lumley Station July 26
Bungonia, Argyle. July 28/36 P 20 x 30 DLPX24 f.29
From New Township Goulburn Plains Lake George Ranges in distance Augst 1/36 P 19.7 x 31.1 ML PXC970 f.5
View on the Wollondilly, Arthursleigh Augst 2/36 P 19.4 x 29.9 ML PXC295 f.22
Cookbundoon River above the Pass Augst 3/36 P 20.1 x 29.9 ML PXC295 f.73
Cookbundoon River Augst 3/36 P 19.9 x 31.1 ML PXC970 f.6
View from the Gibraltar Rocks, Arthursleigh. Augst 4/36 P & White 20 x 30 DLPX24 f.30
View from the Gibraltar Rocks. Augst 6/36 P 19.9 x 30.2 DLPX28 f.73
Gibralter Rock, Arthursleigh Augst 6/36 P 30.4 x 20.4 ML PXC295 f.101
The Ford, Arthursleigh. Augst 7/36 P & W/C 20 x 29.5 DLPX24 f.32
Fall of the Quarooilli near Throsby Park Augst 9/36 P 20.1 x 30.1 ML PXC295 f.97
Throsby Park Augst 10/36 P 19.5 x 29.8 ML PXC296 f.30
Bungonia, Argyle W/C 32.7 x 47.4 MLV*SpColl/Martens/18 Based on a pencil sketch titled "Bungonia, Argyle" dated 28 July 1836. Illustrated Painted Panorama, (cat 29), b/w, p.137.
Corall, Bungonia W/C 17.6 x 12.5 DG*D20 f.8
189
The Corall, Bungonia c.1839 Pencil 31.5 x 21.5 ANL abn86‐090323
On the Cookbundoon River, Argyle NSW c.1850 P & Wash 23 x 33.5 ANL abn84‐009927
The Cookbundoon River County Argyle Pencil 31 x 23.1 DG*D18 f.35 12 1/4 x 9 1/8"
190
Appendix 4
References to Oil Paintings
The following references are extracted from the artist’s own manuscripts ‐ such as letters, diaries, account books, and notes on painting. All are located in the Mitchell and Dixson Library collections
* 16 September 1837 {Notes on Painting}
A.B.Sparke orders the following materials from England for Martens ‐ they will be used for painting oils
‐ Canvas ‐ 20 yards, yard wide canvass and of a light stone color for landscape
‐ Oils ‐ 2 Quarts nut oil 1 ditto linseed
‐ Mill boards ‐ 1 dozen prepared mill boards 18 inches by 13 1 doz. ditto 14 by 10
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* c.1838 {Notes on Painting}
To make a quick drying Oil
Take of Nut or Poppy oil 1 Pint ‐ gum Sandarack 2 oz. White vitriol and sugar of lead each 1 oz. Boil the whole till the solid ingredients be dissolved and the mixture is of the color of Linseed oil. Extract from The Handmaid to The Arts
Varnish for Oil Paintings:
1 esinglass size with a small quantity of sugar will be found the best substitute for the more durable kinds of varnishes ‐ it is not liable to cracks and can at any time be removed by a sponge and hot water . "Handmaid of The Arts"
Drying oil without Heat
To a quart of very old black nut or linseed oil add one pound of the cleanest unadulterated litharge of silver. Let the glass retort in which they are put be perfectly cylindrical, that the greasy part of the oil which will unite with the litharge may subside without impediment. Shake the mass many times in a day for a week or longer; and carefully without mixing the greasy sediment pour off the drying oil for use. "Gower on Painting
Notes by Sir Joshua Reynolds made during his stay at Rome.
191
He says ‐ "The Heda, in the Collomia Palace by Corregio, is dead colord white, and black or ultramarine in the shadows; and over that is scumbled, thin and smooth a warmer tint. I believe capul morturium. The lights are mellow, the shadows bluish but mellow. The picture is painted on a panel, in a broad and large manner but finished like an enamel. The shadows harmonize and are lost in the ground.
"The Eise Homo of Corregio in the same Palace. The shadows are entirely lost in the ground perhaps more so by time, than the were at first.
"The Adonis of Titan, in the Colorma palace is dead coloured white, with the muscles marked bald: the second painting he scumbled a light color over it: the lights are mellow flesh colour: the shadows in the light pools of a faint purple hue: at least they were so at first. That purple hue seems to be occasioned by blackish shadows under and the color scumbled over them. "I copied the Titian in the Colorma palace with white, umber, minie cinnabar, and black, the shadows thin of colour.
"In respect to painting the flesh tint, after it has been finished with very strong colours such as ultramarine and carmine, pass white over it, very, very thin with oil. I believe it will have a wonderful effect. "Or paint the cormation to red, and then scumble it over with white and black . . . . then he adds "Dead colour with white and black only, at the second sitting.
Carnation. (To wit, the Barrocci in the palace Albani, and Corregio in the Pamphili)
"Poussins landscapes in the Verossi palace, are painted on a dark ground made of Indian Red and black. The same ground might do for all other subjects as well as landscapes.
"Make a finished sketch of every portrait you intend to paint and by the gulf of that dispose your living model: the finish at the first time on a ground made of Indian Red and black.
. . . . again his remarks "All the shadows in the works of the Curroia Guercino, as well as the Venetian school are made with little colour, but much oil: the Venetian’s seem to be made only with a drying oil,composed of red lead and oil.
Curios but simple mode of Preparing and Bleaching fine Drying Oils for Artists.
These important objects are accomplished by the following very simple method ‐ take any oil intended for making up fine colors and having super saturated with common salt about the same quantity of water, mix the whole well together in a glass or stone bottle. Place it in the sun, shaking it frequently, and in a few days it will become a delicate white and excellent drying oil.
To Prepare Panels for painting.
Break grossly the bones of sheeps trotters and boil them in water till they are cleansed from their groove, then putting them into a crucible, calcine them, and afterwards grind them to powder, make some thin flower paste, add in an equal quantity of the bone ashes, and grind the whole well together. Lay two or three coats of this compost upon your bones, and when dry, rub down with pumice stone till it becomes a smooth surface. Before you begin to paint rub the panel all over with a small quantity of nut oil.
N.B. The bones calcined in a open fire will be quite white, but if done in a crucible, of a brown color
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192
* 20 March 1838 {Account of Pictures}
Bota Fogo, Rio Janiero. Oil. J.Brown Esq 3.10 paid. E
* 26 May 1838 {Account of Pictures}
Brush at Illawarra oil. G.McLeay Esq 2.10. paid.
* 31 May 1838 {Account of Pictures}
"Oropena, Tahiti." oil. J.Evans Esq 4.4. paid.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
* 2 May 1839 {Account of Pictures}
Salcombe Castle. "oil. G.McLeay Esq 15.15. Pd.
* 23 May 1839 {Account of Pictures}
"Govets Leap. "oil. W.Carter Esq 31.10. Pd.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
*3 June 1839 ‐ Diary of Lady Jane Franklin {NLA, MS114, pp330‐1}
"...... Reggy at Mrs. Barney’s, morning rainy, but in course of it walked to Bridge St. to see Martens’s pictures ‐ he is youngish man with mustachios ‐ came here en passant, has got married & is stock holder. had ptd chiefly landscapes in water colours is now engaged in oils ‐ native scenery his sketches pretty in pencil on coloured paper ‐ told him I wd order a picture but must wait till I had seen more scenery before I fixed on it ‐ asked me if he wd make me some sketches pencil ones ‐ was not accustomed to do so, but wd for me ‐ it wd hinder his ptg pictures if he made sketches of them ‐ talked of 2 guineas each ‐ when I objected, sd it wd depend how they were done ‐ perhaps one guinea. I sd in the way I wished, 10 sh. each he did not look quite pleased, but con‐sented. Mr. M. is in 1st story at Mr. Evan’s stationary & book shop...."
Matens noted in his account book for 1839, re Lady Franklin, the following:
June 3 10 Sketches in pencil. Lady Franklin 5.5. pd.
July 9 14 Sketches in pencil. Lady Franklin 7.7. pd
July 30 View, Dapto, Illawarra. Lady Franklin 15.15. pd.
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* July 3 1841 {Notes on Painting}
193
Take care that your shadows are generally of the same tone more particularly in the distance, variety is to be obtained in the lights, there must also be in some part of the picture a pretty large mass of rich dark color or you will never support the color in the lights and the picture will certainly be cold.
‐ Uniformity of color in the shadows of the distance? a very material point in the production of harmony is in oil easily obtained by scumbling with the desired color after all the forms are got in ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
1841‐2
The following works were ‘Painted for Sir George Gipps etc’ between 1841‐2 {Account of Pictures}. Though it is not indicated that all were done in oil, other evidence suggests they were:
28 October 1841
View of New Govt. House in oil size 26 x 18 #15.15.
14 November 1841
Sydney, from St. Leonards. 26 x 18 #15.15.
30 November 1841
View from Rose Bay. 26 x 18 #15.15.
21 January 1842
View of Old Govt. House 26 x 18 #15.15.
31 January 1842
Government Stables 26 x 18 #15.15.
10 April 1842
Small view of part of Govt. Stables in oil
26 September 1842
View from my window 27 x 12 #12.12.
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* 1 February 1842 ‐ A.B.Sparke diary (p.146)
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* 22 March 1847 {Account of Pictures}
Sketch in oil, Double Bay Gillmans Esq 4.4. Pd.
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* 24 June 1848 {Notes on Painting}
June 24th 48 Oil Colors
Picture. big gum in the gulley
Trees‐ lamp black and white ‐ cool shade as they approach V.Brown ‐ ditto ‐ middle distance towards the Raw Umber ‐ ditto ‐ ground moss middle distance Yellow Ochre ‐ and foreground nearest trees ‐ yellow ochre and Prussian blue Bt Sienna and as phaltum with the above colors the picture may be completed. Colors 1. Cobalt 2. L.Black 3. V.Brown 4. R.Umber 5. Y.Ochre 6. B.Sienna 7. Asphaltum 8. Bt.Umber 9. Prussian Blue
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* 4 July 1848 {Account of Pictures}
Brush Scene. Brisbane Water. 20.‐ ‐ P. Raffled (won by John Brown) 30 inch by 25. oil
* 4 July 1848 {Account of Pictures}
Fort Street and N.Shore from the Flag Staff Hill 31 by 12 1/2 oil with frame. 8.8.
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* c.September 1848 {Notes on Pictures}
In Oil (View on the Erme River) 195
{Possibly the work titled `View on the Erme River near Ivy Bridge' sold for 6 guineas as part of the Art Union held in conjunction with the Society for the Promotion of the Fine Art's Exhibition at the Hyde Park Barracks on 7 August 1849 (refer "Account of Pictures").}
Sky, V.Brown and white into L.Black and white for the cooler parts ‐ light clouds, Brown Ochre & white on the remainder of the picture done with the following colors. V.Brown, Raw Umber, Brown Ochre, L.Black, and a little cobalt, mixed in various proportions with white, and with each other. The advantage of these colors appears to be that as they are in themselves broken or tertiary colors, they can in many instances be laid on quite pure, producing thereby harmony, repose, and keeping which will not be easily disturbed by the greens and warm browns which are afterwards laid on as glazing to produce vigor and richness. Still less by the high sparkling lights which may very slightly be a remove from pure white.
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* c.December 1848 {Notes on Pictures}
Portrait, oil
Try V.Brown and white with a little lake or Madder Red for shade tint. This can be dispenced with V.Brown alone or mixed with a little Lake, or with asphaltm. but no white ‐ for the lights ‐ Brown ochre and white or Bt.Sienna (and a little Cobalt and white without cobalt is a beautiful flesh tint
Note. the above colors V.Brown, Lake, Brown ochre, which are these Bt.Sienna, cobalt, & white.
may be exchaged for these Naples Yellow, L.Red, cobalt, V.Brown and White.
‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ c.March 1849 {Notes on Pictures}
Pallette for Oil Raw umber, V.Brown, Lake, Pn Blue, Yellow ochre, White or try Bt.Sienna instead of Lake.
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* 19 May 1849 {Notes on Pictures}
May 9th If the colors in a picture are not strongly contrasted and with some degree of purity but very quiet, dull and grey, the work may still be made to look very well if the light and shade is brilliant sharp and the high lights white and silvery for a long time, it is the quantity of color one layer over another, that prevents the modelling and perfecting. the complete finish is done with small bristle brushes as each form required.
The Ground should be slightly absobent to make this use flour paste and pipe clay about the consistence of liquid honey (three or four coats), and over this a smooth lay of white lead and turpentine, rubbing down between each coat if necessary and lastly a coat of white oil color, not very thin, and wash over with a bodgers hair softener,
Note. Instead of all this, what I have found to answer very well is a mixture of flour paste and oil paint of the tint you require for your ground 196
This is more or less absorbing in proportion to quantity of paste or paint of which it is composed, and not being hard, it is easily rubbed down sufficiently smooth.
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* c.October 1849 {Notes on Painting}
Extract "This luminous transparency Rubens seems to have imbibed in the study of the Venetian pictures, evidently painted over water color preparations, the most lucid and briliant style of painting; and though his works are commenced from the beginning in oil colours, yet most of them, both of large and small dimensions, are upon panels prepared with whiting and size sufficient to resist the oil. This imparts to his pictures great brilliancy as water‐color reflects and refracts light while oil absorbs and retains it, independent of which chalk is indistructible while flake white and other oxides, return partially to their metallic bases, by examining his sketches, and unfinished studies, he appears to have gone over the ground with a vehicle, such as oil and varnish and while wet drawn in his subject with dark brown hightening the lights with white; this not only allows the brush to flow with ease but gives a liquid softness to the touch. In many of the Duch school we perceive this ground tinted; in Patier and Wouvermans, often of a buff color; Ostade and Cuyp, of a yellow or cane color, and in De Hooge and Peter de Laer, of a dull brown. In sketching in the subject, the depth or tone of the color which is to form the shadows must depend on the lightness or darkness of the picture. In the works of Brower and the two Ostades, we find it approaching to burnt sienna, or bone brown, in Patier and Wouvermans burnt sienna and often warmer "black; while in Teniers it is little darker than Bt.Umber, their shadows gradually getting richer and warmer according to the general depth of their pictures. They seem however all to agree in Keeping their darks trasparent and thin, while the light portions are opaque and solid, and as the tone "of their several works vary, so does the vehicle with which they paint. Burnet’s Practical Essays on the Fine Arts.
{Possibly refers to John Burnet's A Practical Treatise on Painting, London, 1828, of which Martens possessed a copy. It is further titled: "In three parts, consisting of hints on composition, chiaroscuro, and colouring. The whole illustrated by examples from the Italian, Venetian, Flemish and Dutch schools".}
Note Vermillion ought never to be mixed with White, but used pure, Rubens never mixed it with white for his flesh tones; but played it in pure in flesh tones and reflections.
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*To J.Mitchell Esq. Hobart Town. Nov.28th 1849.
My Dear Mitchell,
Our friend Mr. Mann (?) is about paying a visit to your part of the world and has kindly consented to br troubled with a small packet. I therefore send you a little bit of color, easy and slight of execution, and an example of two of pencil sketching which I think might be useful ...... and inclination again to try your hand in that way. I have not done anything more in the competition way since I wrote last but have taken to painting out of doors in oil which I find very improving to me in color and shall I hope with a little more practice be enabled to complete a picture, or nearly so, in that way with facility and a happy consciousness that it is very near the truth. But the worst is that I can sell nothing now whatever way it may be done and this complaint, like the influenza, is I am sorry to say, but too general. ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐
197
* c.1850 {Notes on Painting}
To purify and lighten the colour of Oil for Painting. Half fill a glass bottle with pure rain water. Add half the quantity of oil some clean white sand and some correfied (?) common salt. Shake up the mixture well for some time and then allow it to settle. Repeat this process again and again until the oil has lost its dark color then decant the oil into another bottle with fresh clean sand and water, omitting the salt. This method will refine the oil to its greatest degree of purity. afterwards place it in the sun occasionally. This will bleach it to a colourless state in about a month. Extract from "Eastlakes Materials for a History of Oil Painting"
{Refer Charles Lock Eastlake Materials for a history of oil painting, Longman, Brown, Green & Longmans, London, 1847. The copy in Martens' collection is signed "Conrad Martnes 1853" on the title page, and contains manuscript page references on back title page in the artist's hand. There is also a loose page of manuscript notes by Martens, referring to the text.}
Drying Oil Calcined sheeps bones, first pulverised and added to oil while in a boiling state will make it dry readily to calcine the bones properly, they should be enclosed in a new corthen vessel and subjected to a strong heat for two hours, then reduced by pounding and sifting to a fine powder.
"Varnish. Take of Venice turpentine an oz and half. place it in a glass vessel in a basin of hot water on a small furnace. The turpentine being mixed and warm have ready half an oz of isell cleansed mastic in teans reduced to a fine powder throw this into the turpentine, stirring till the mastic is dissolved. Have ready in another vessel four oz. of very light and clear spirits of turpentine warm this also covering the vessel with a glass cover. Throw it into the melted turpentine and mastic mix duly and take the vessel from the fire when this is applied to the picture warm it previously in the sun". again. After speaking of a varnish composed of 1lb of pulverizer mastic added to 3lb of linseed oil, the writer continues, here observe, if you wish the varnish to very quickly take calcined sheep bones pound and sift them to a fine powder and stir in a quantity about the size of a walnut to the varnish. Let it boil once with this ingredient and it will then dry quickly on whatsoever surfaceit is applyed".
"To make color in distemper adhere to a surface painted in oil, nothing more is necessary than to pass over the surface with the juice of an onion or garlic and allow it to dry.
Note. From what is said by Mr Eastlake on the subject of the grounds of the early Flemish school, it appears that, first a white ground of size and whiting finished to a smooth surface is laid upon the pound or cloth, upon which the outline of the picture is carefully sketched with pencil or charcoal This is then covered or fixed with a thin coating of clear size which at the same time renders the ground non absorbent. Upon this was now laid a transparent tint, either of a light brown, cream, or flesh color according as it may be desirable, mixed with some obeviesinous vehicle which will take its place portions of which may be made use of: and remain visible when the picture is finished. The original design viz: that addition in pencil first mentioned may after the oil prime or tint is down be again strengthened and cooled to some extent in shadowing by means of a brown color, worked with a vehicle which will keep its place and still be somewhat transparent.
198
Cheese Cement. Take soft cheese, cut it into small bits, pound and wash it in a mortar with hot water till all the soluble parts are removed, and till the water which requires to be frequently charged remains clear. The cheese thus prepared will crumble like bread when dry, and may be kept in that state for any length of time. The substance itself is not soluble in water, but it becomes so by the addition of quick lime. On pounding it with this a viscous cream is formed which may be thined with water. It drys quickly and once dry cannot be again disolved. from Eastlake’s "Materials for a history of Oil Painting
Quick drying Oil sulpt. of zinc} Dry or half calcine white copper as on a redhot shovel, and add it to linseed oil in the proportion of 2oz to one lb. of linseed oil; Boil on a ‘slow fire always stirring, then strain. ‘This oil will dry in two hours".
Gamboge Gamboge may be purified for painting by dissolving it in alcohol and and then precipitated by water, or it may without this process be ground in spirits of turpentine and so kept in a moist state for use in oil painting.
Note. The vehicle should be varnish not oil.
Very durable paint. Hard resin well clorified, and linseed oil as much as you may find by experience to be sufficient Let them be well melted and incorporated on the fire. Then take either umber or red lead ground fine, which put into the oil and resin. This proportion will withstand wet and weather longer than any other kind of paint. It should be laid on hot. from Smiths Art of Painting A.D. 1676
Concrete turpentine and drying oil.
Of Colors.
Black. ‐ Black chalk when ground in oil, drys easily, is unctuous and threads well. For painting satins, it is superior to the ordinary black
Brown. ‐ Prussian blue, furnishes when burnt, a very fine and durable brown, but it requires much working to free it from salts. Method, first reduce to a powder, then burn or rather roast it in a shallow pan over a clear fire stirring and shaking it well during the time.The salts and potass not previously soluble being set free by the watering, a variety of tints may be obtained according to the degree of burning and the nature of the blue.
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* 13 September 1850
Letter to Henry Martens
"....I have done no oil painting for some time my painting room is so cold in the winter that I have been obliged to 199 retreat to another room to draw in but which has no light for painting..."
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* 18 January 1851 {Notes on Painting}
Jany 18th Memo ‐ Picture begun for Mr Levick painted with Claxton
{Possibly refers to the work `View of Sydney from St Leonards, oil, size 42 inches by 30' sold to James Levick for 30 guineas on 14 February 1851.}
Sky. large masses of clouds with pure azure between. ‐ time ‐ 5 oclock, afternoon looking S.E.
First lay. Blue black and white over all coming down into much white with a little vermillion; color of canvas yellowish white, with the palette knife
Second. French ultramarine with white and a little vermiln leaving shadows of clouds and wiping off the blue for small clouds of a low tone, and x impasting with white and vermillion the lighter ones. ‐ a few touches for dark and wild cirrus, of
1851, Jany 20th In Henrys last letter ‐ to make Maguilp half & half good drying oil and mastic varnish, to which if not satisfactory, add a small quantity of papamers size, while mixing
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* 14 February 1851 {Account of Pictures}
View of Sydney from St Leonards 30.30. Pd. oil, size 42 inches by 30. J.Levick Esq
* 4 March 1851 {Account of Pictures}
Burns’ Inn. Oil, out door sketch. John Brown Esq. 5.5.
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* 7 August 1852 {Account of Pictures}
The Black Eagle, (oil. J.Massie 5.5. Pd.
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* 13 August 1852 {Notes on Painting}
Augst 13th 52 When you paint with gum Traganth and oil use for your darks the mixture of Arabic gum and oil 200 which will give transparency and richness.
1st. Gum Traganth and drying oil
2. Arabic gum & Mastic Varnish
Note. about 1/6 lb of drying oil, and about the same proportion or less of mastic, to the Arabic gum. use powder colors always with the first mixture but colors ground in oil will go very well into the gum arabic and mastic mixture which of course is chiefly used for dark and transparent colors.
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* 31 January 1853 {Account of Pictures}
Scene near the Weatherboard Inn. 26.5. Pd. (oil size 4ft x 2ft 10. Edwd. F.Jenikens Esq
* 22 April 1853 {Account of Pictures}
Sydney from Robinsons Point #15.15. Pd. for Mr Carter ‐ in oil ‐ 26 x 18.
* 31 May 1853 {Account of Pictures}
"Coochin Run" ‐ oil 26 x 18. O.Brown Esq 15.15. sold to M.McLeay Esq.
* 8 November 1853 {Account of Pictures}
Glen. Franklin Vale. J.Laidley Esq 2.2. ‐ oil ‐.
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* c.1854 {Notes on Painting}
Feby 22. While reading Rusken page 145, suggested to paint first the local colors, pure, light and with as little regard to shadow as is consistant with the general effect as possible. The picture will of course in this state look crude, but in the next operation, viz. that of glazing, pass boldly with transparent black over the greater part of your picture or perhaps the whole of it and then wipe off again where your judgement leads you. This will make your shadows true, will take down the crude color in the lights, as well as give where wiped off, the appearance, not of paint, but of quick color with light shining upon it. ‐ This method will enable me to keep clear of monotony which at present I am liable to in oil
Sky in oil. The upper clouds, or mares tails, and lofty cyrius cirrus and masked sky wiped out of the blue while wet having a previous couch of white. This gives a fine opportunity for painting in a lower stratum.
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201
* 29 April 1854 {Account of Pictures}
The Harbour from Millars Corner (oil) Thos Walker Esq 15.15. Pd.
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* 17 November 1854 {Notes on Painting}
Nov 17th, 1854 Oil practice ‐ .Colors. ‐ Mullet Creek for Lt Red, Fr.Blue, Yelo Ochre ‐ beginning Louis Barber Black, ‐ V Brown. ‐ Greens Pn.Blue Bt.Siena
{Refer "Account of Pictures" 13 January 1855 for work titled `Mullett Creek, Illawarra' sold to Louis Barber for 15 guineas.}
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* 12 April 1855 {Notes on Painting}
April 12 Practice Oil with two colors, viz. Blue Black and Raw Umber ‐ upon a tinted cream color’d paper, a good effect of Sky and Sea, taking out all the lights Prima method ‐ Vehicle ‐ maquilp the paper impervious, of the kind having a fine polished surface.
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* 1 May 1855 {Account of Pictures}
The Castaway, oil Baldwin 5.5.0.
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* 1 May 1855 {Notes on Painting}
May 1 Oil upon Paper A thin wash of glue upon the parts you are going to paint upon will make it impervious to the oil or vehicle, and to prevent too much inking ‐ good thick imperial paper or light color a card board is good. a frame of paper may be laid on the paper previous to the glueing and so preserve a mount as if for a drawing. The pencil sketch may be done before the glue is laid on and will be seen through.
May 14 Sea ‐ in Oil. Raw umber ‐ Black and white If the ground is prepared tan color or brown, begin with a sage color made of raw umber and a little black in one brush, and a little thin white in another. With these and wiping out, form your waves and work up as far as you can, then with more black in the one brush and more thick white in the other, finish, having in some part descended to nothing short of blue black and pure white in the highest lights.
202
1855 June 14th Practice Color stands for light, however low or neutral in tone, in opposition to shade, or grey however light that may be in tone. One cause for this is, that it gives solidity in opposition to shadow which must always appear thin and transparent!!
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* 25 June 1855 {Account of Pictures}
View of Sydney in oil. J.Nouflard Esq. 6.6. P. (returned)
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* 24 May 1857 {Account of Pictures}
St Pauls (in Oil). Miss Campbell ‐‐‐‐ School of Industry.
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* c.1857 {Notes on Painting}
Colors for Sky in oil Prussian blue for the aqua. White and Bt. Siena high lights on clouds. V.Brown Blue black and for shadows Lamp black The sky is composed of large masses (Cumulus) with partical gleems of sunshine. Note ‐ This example is from the oil picture of the Huntsman by I.V.Sartorius in the possession of James Reiley Esq.
Dec 17th 1857 Receipt for Magill see a note in Burnets on Oil Painting.
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* December 17 1857 {Account of Pictures}
The "Huntsman, in oil. repaired for J.Riley Esq 5.5.‐ Pd 8.8.
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* c.1859 {Notes on Painting}
Paper for painting in oil is prepared by seizing, or oiling common drawing paper, "after you have made the sketch" see Henry’s letter of Jany 1859.
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* 23 June 1860 {Account of Pictures}
View of Coolangatta, oil 35 x 24. 203
(framed) A.Berry Esq #30.‐ P.
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* 3 May 1861 {Account of Pictures}
"Musipula. oil. size 14 x 12 E.T.Blackett. #6.6. Pd.
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* 13 March 1869 {Account of Pictures}
Oil Sketch Tilligerry presented. P.G.King Esq
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* 28 May 1878 {Account of Pictures}
Oil Sketch above Balmoral. R.T.Carter
Sydney from Silica (oil). R.T.Carter
*25 June 1878 {Account of Pictures}
Oil Sketches. "Funchal & Coolangatta. Fielding. 2.10. Pd
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29 Nov 1901
Sir William Dixson purchases ‘Martens Sketch Book and Oil Painting £50’ from Angus & Robertson’s.
1911‐1912
Sir William Dixson purchases ‘Oil Painting by Martens nr Cox’s Farm £105’ from Angus & Robertson’s.
1911‐1912
Sir William Dixson purchases ‘Oil Painting by Martens of Tahiti £75’ from Angus & Robertson’s.
4 Jan 1926
Sir William Dixson purchases ‘Marten’s Oil Paintings ‐ Illawarra #110’ from Angus & Robertson’s.
1 Oct 1926
Sir William Dixson purchases ‘Martens Oil Painting #110’ from Angus & Robertson’s.
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1920 204
Lionel Lindsay, Conrad Martens ‐ The Man and His Art, Angus & Robertson, Sydney.
"....Martens never learned to handle oil‐colour comfortably; with one or two exceptions, an even opacity pervades all his work in that medium. As soon as he took up a hog‐hair brush he was haunted by his water‐colour experience; and, as he did not possess the secret of keeping his canvas translucent in the shadows and loading his lights, the general result obtained is a notable lack of atmosphere. This almost invariably goes with the practice of a hand used to the fluency of water‐colour when it essays the heavy medium; and rarely have artists handled both vehicles with equal success.
Turner stands unrivalled in water‐colour, but his oil paintings have deteriorated through faulty construction. Constable, whose technique in oils was sound enough, handled water‐colour s clumsily that his use of it can only be regarded as a time‐saving device for the making of colour notes. Martens was no exzception to this rule. Though he tried bravely to master the older medium, he drew not by values but by feeling for form, and was, therefore, confronted from the outset by insuperable obstacles.
His work in oils resembles water‐colour with a glaze. It lacks both depth and limpidity. His distances do not receed into infinity, but are stayed by dead paint, so that he reproduced none of the rare characteristics of oil painting ‐ fine impasto, variety of tones, charm of gradation and that mystery of shadow, interpenetrated by indefinite shapes which the eye divines but does not seek to determine. We arrive inevitably at a surface of paint. Generally, his colour is tame and lacks variety, the trees are heavy and petrified, their edges hard and palpable, artificial; you feel that his spirit has not entered the medium, and that he has been beaten by it.
His greatest success in oils is the panel of Sydney Cove, charming in colour and filled with atmosphere. The slightness of scale has helped him here. As the panel is mainly concerned with the middle distance, he has no near difficulties to contend with, and his technical knowledge suffices for his purpose. here are no spaces empty of interest; the small quantity of colour opposed in the pictorial forms embodied is the reason of its success; expanded to a larger canvas it would have been empty and thin."
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1968
Lionel Lindsay, Conrad Martens ‐ The Man and His Art, (2nd edition), Angus & Robertson, Sydney.
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1979
Helen Topliss, ‘Conrad Martens at Observatory Hill’, Art and Australia, Volume 16, 1979.
"....It was largely because of his interest in atmospheric effects and his largesse of vision that Sydney provided a fitting subject for his brush. His most successful medium was watercolour and his excursions into oil, with few exceptions, show up his inability to define his landscape forms. For instance his oil painting ‘Sydney and Botany Bay from North Shore’, of 1840, reveals that he was applying his oils in a watercolour technique with a very fluid and thin application of paint. His tones merge and flow like the washes of a watercolour. In works like this he achieves some of the breadth of Turner but with none of the detail or the interest in surface texture...... Having said that Martens was not really a successful painter in oils one should admit that there are a few examples which reveal that he was not totally incapable. This exhibition does present a couple of works in oil where he seems to emerge from a more generalized view of nature in the copy‐book style, to a more specific account which seems to reflect a direct experience. One of the most interesting works in this exhibition is the oil painting, Sydney Cove, of 1842, from the Dixson Galleries. it is in a work like this that one glimpses Martens in a special mood. The picture combines both genre and landscape in the manner of Turner, albeit in a less realist vein. Facing the viewer in the foreground is a group of cottages with washing hanging in their backyards and, next to them, figures of women and children. The riggings of ships juxtaposed with roof lines completes the composition which is an unusually 205 strong one for Martens. The application of paint in this work is much more lively than in most of his other works; passages, like the left‐hand foreground, which contain impasto touches of pure colour give cohesion to the surface of the painting. The application of paint and the pink / mauve tonality is more than reminiscent of Tom Roberts’s and Arthur Streeton’s Sydney landscapes some fifty years later. It is likely that Roberts and Streeton saw work by Martens in the Art Gallery of New South Wales (the first picture commissioned by that Gallery, in 1874, was one by Martens). Surely something of his romantic, rose‐coloured view of Sydney and its coastline is translated into works like Roberts’s Coogee."
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206
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‐‐‐‐‐, The Autobiography of Charles Darwin, Collins, London, 1958.
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‐‐‐‐‐, The Colonial Image: Australian Painting 1800‐1880. Ellsyd Press, Chippendale. 1987. pp.38‐43.
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‐‐‐‐‐‐‐, The Zoology of the Voyage of H.M.S. Beagle, under the command of Captain Fitzroy, R.N. during the years 1832 to 1836. Smith, Elder & Co., London, 1838‐41.
‐‐‐‐‐‐‐, The Beagle Diary (1831‐36). Cambridge University Press, Cambridge, 1933.
‐‐‐‐‐‐‐, The Correspondence of Charles Darwin, Volume 1, 1821‐36. Cambridge University Press, Cambridge, 1985.
‐‐‐‐‐‐‐, The Correspondence of Charles Darwin, Volume 2, 1837‐43. Cambridge University Press, Cambridge, 1986.
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Dundas, D., ‘Australia as seen by Conrad Martens’. The Etruscan. March ‐ June, 1961. pp.18‐23. (Reprinted in The Australian Antique Collector, Vol.1, November 1966, pp.33‐36.).
‐‐‐‐‐‐‐‐‐‐, ‘Conrad Martens’. Quarterly, Art Gallery of New South Wales, Sydney. Vol 5, No 1. October 1963, pp.161‐5.
‐‐‐‐‐‐‐‐‐‐, ‘Conrad Martens ‐ Pilgrim Father of Australian Art’. The Etruscan. Vol. 18, June 1969. pp.24‐25.
‐‐‐‐‐‐‐‐‐‐, ‘Conrad Martens’. Australian Dictionary of Biography. Vol.1, 1788‐1850. Melbourne University Press, Melbourne. pp.212‐213.
‐‐‐‐‐‐‐‐‐‐, The Art of Conrad Martens. Macmillan, Melbourne. 1979.
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Unknown, ‘Some Pastoral Homes of Queensland’. The Australian Antique Collector. No.7, 1969. pp.52,54.
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