SIXTY-FIVE PAINTINGS by 'THE SUNDAY PAINTERS' Max Angus

Catalogue of

SIXTY-FIVE PAINTINGS

by

‘THE SUNDAY PAINTERS’ Max Angus, Harry Buckie, Roy Cox, Patricia Giles, Geoff Tyson, and Elspeth Vaughan

from the collection of Don & Maggie Row with Provenances, further details and an introductory essay, together with a Catalogue Raisonn´efor Buckie

Contents

An Introduction to the ‘Sunday Painters’ 3

1 Max Angus, born 1914: Eight watercolours, a charcoal portrait study, and two pen and ink drawings 7

2 Harry Buckie, 1897–1982: Eighteen watercolour landscapes and a photograph 11

3 Roy Cox 1898–1983: Three watercolour landscapes and a linocut 23

4 Patricia Giles, born 1932: Eleven watercolours and an oil painting 25

5 GeoffTyson, 1911–86: Six watercolour landscapes, three prints, and an ink and wash portrait sketch 31

6 Elspeth Vaughan, born 1926: Nine watercolours and an oil painting 35

7 List of Exhibitions by Angus, Buckie, Giles, or Vaughan, some- times with a few others 39

8 Harry Buckie 1897–1982: A Catalogue Raisonn´e 43 8.1 Chronology ...... 43 8.2 Catalogue Raisonn´e ...... 51

Bibliography 113

Index 115

An Introduction to the ‘Sunday Painters’

Background and general comments are based on [2], and references when not given may be found there. We have included a list of exhibitions relevant to the ‘Sunday Painters’ as an entity in Chapter 7. Other than the biography of Harry Buckie given in [2] his career is not well documented. Therefore in order to make whatever information is to hand available for public use we have included a chronology and an indexed Catalogue Raisonn´eof some three hundred and forty-six of his paintings in Chapter 8.

Watercolour Painting in Tasmania in the 1950s

Tasmania has a long and quite distinguished history of watercolour painting. The British colonised the island at a time when the short-lived but successful London- based Society of Painters in Watercolour had elevated watercolour to the high point of its long history. The watercolourists among the settlers brought their tradition and skills with them and aided by a congenial cool climate they taught and practised their art from the outset. Private tuition, gifted well-to-do amateurs, and Art Societies with their modest sales to the public provided the framework that maintained technical skills and a major place for watercolourists in the cultural life of the island throughout Victorian times. A gradual change from private to public art education at the beginning of the twentieth century diminished the role of watercolour in the world of the amateur Tasmanian artist. However three developments coincidentally combined to ensure that all the re- quirements were in place following World War II for a resurgence in the practice of watercolour painting. Firstly, and most indirectly, Paul C´ezanne’s influence had helped watercolour painting survive the belated flux and turmoil in Australian art in the 1930s and 40s. C´ezanne, more so than any other post-Impressionist, was known as a watercolourist as well as a painter in oils. Secondly, and most important of all, had been the role of the watercolourist Joseph Connor. The story of art in Tasmania from 1925 until the beginning of World War II was shaped by him. He participated in the changes that rocked the Australian art world, influencing others by his painting rather than political or teaching activities. Learning from C´ezanne and Matisse he achieved, working alone in Tasmania, by 1928 what many others would try for later in vain in Paris and London. The quintessential amateur, his judgement and painting nevertheless won respect across the spectrum of the Australian pre-war art world. His influence can be seen on any representative collection of Tasmanian art of the period. The only other Tasmanian who approached Connor’s brilliance in the pre-war period was Edith Holmes [1], a painter in oils. But her influence did not approach that of Connor. A different personality, filial responsibilities, and a somewhat sheltered life restricted her influence to a small circle of women who painted in Mildred Lovett’s studio. Later her standing was held back by the inability of Jack Carington Smith,

3 influenced by the poet James MacCauley, to treat a woman’s art with the seriousness it deserved. Thirdly, during the years of World War II Carington Smith and Robert Campbell occupied the two most important and influential teaching positions in the Tasmanian art world. Coincidentally during this period Campbell had turned to watercolour, and Carington Smith was increasingly sketching in the medium even though he believed it an inappropriate technique to teach. Thus in the early postwar years anyone with a prediliction for watercolour had ample opportunity to learn.

The Birth, Life and Times of the ‘Sunday Painters’

The group began with a suggestion from Roy Cox to Max Angus in 1958 that the two paint together on Sundays, this being Cox’s only regularly available free time. Angus had painted with Harry Buckie and found him congenial company, and in 1959, on his return from a 1958 [10], [14] [not 1957, as in [3]] painting trip to Central Australia, Buckie was invited to join the pair, followed in turn by Patricia Giles in 1961 and Elspeth Vaughan later in the 60’s. GeoffTyson joined them on occasion when visiting from Launceston on examining duties during his tenure as Head of the Art Department at the Launceston Technical College from 1960 to 1975. Robert Barnes, John Traynor, and Harry’s daughter Joan, among others, also painted with the nucleus of five on occasion. Cox had been the driving force that kept the group painting in all weathers and his death in 1976, coinciding with a broadening of the commercial Tasmanian watercolour-painting scene, is perhaps a convenient point from which to look back and examine the effect that their communal painting had on individual members.

The core members

Roy Cox had studied with Lovett and Dechaineux during the period when Connor succeeded internationally with his strikingly bold landscapes, and it was possibly with Connor’s help that he exhibited with the Australian Watercolour Institute in 1946. His early lino-cuts and the work of his proteg´eKeith McNeil show the attraction that Connor’s simplicity of wash and composition had for him. Cox was secretary of the Tasmanian Group of Painters and teaching part-time at the Hobart Technical College in the mid-1950s at the time he was appointed chairman of the Cox Kay firm of printers. Max Angus, on his return to Hobart from Melbourne and wartime service, had enrolled for a three year course leading to a Diploma of Fine Art at the Technical Col- lege. He had long been interested in Chinese calligraphy and his war-time experiences had exposed him to the beauty of Japanese art. His post-war exposure to Carington Smith further strengthened the attraction that simple elegant line and wash had for him. From both Bay on the Derwent River (1957) and Winter Landscape (1959) we can see that Carington Smith’s life-long use of a restrained and muted palate of soft greens, browns and greys had been adopted by Angus by the late 1950s. Harry Buckie had been influenced by Connor and had simplified his own compo- sitions and colouring washes within the first few years of his arrival in Tasmania in 1935. He was a superb draughtsman, not needing to use pencil extensively, but often defining his colour areas precisely and confidently by brush alone when flowing the actual watercolour. He never had need of the cloisonnist technique used by some to tidy up the draughting of their work Patricia Giles had studied art part-time intermittently at the Technical Col- lege from 1948 and worked in art-associated administrative roles until completing a Diploma of Fine Art in 1967. Both she, and then Buckie, taught Adult Educa-

4 tion classes in the mid-1960s. After various teaching positions she painted full-time from 1975. She, and the older Angus, were the only ‘Sunday Painters’ to commit themselves fully to the viscitudes of a professional painting career. Elspeth Vaughan had taken every opportunity to study art as an amateur during her career as an infant teacher, and at the time that Cox, Angus and Buckie were first embarking on their long association she was overseas on study tours.

The influences within the Group

With shared experiences in various art societies and the Technical College the three- some of Cox, Angus and Buckie combined in the late 1950s to begin the close-knit group that was to endure and prosper. Angus was entrepreneurial, with his sense of engagement shaking up a complacent establishment. His bravura was in contrast to the steadfast Buckie, a veteran of a decade of comradeship with Connor and to the efficient Cox, who never allowed a Sunday to slip past unused. Where did they paint? The effect of Carington Smith on Angus had not been limited to technique. In the early 1950’s the list of titles in an exhibition catalogue of work by one might have come just as naturally from the other. Later Angus continued to paint adjacent to ‘city and watering hole’ as did Tyson, painting similar scenes but in the North East and on the East Coast. On the other hand, as early as 1947, Buckie under the influence of Ralph Hope- Johnstone (who later married Elspeth Vaughan) had already ventured into the Tas- manian bush, in particular to Lake Pedder. Giles and Vaughan from the beginning of the 1950s, long before they became ‘Sunday Painters’, were also each painting on bush excursions into central Tasmania. Angus, Buckie and Giles painted at Pedder in 1955 and the culmination of the group’s association in the public mind with the lake came as part of the iconic 1971 painters’ camp before the flooding. It all began with Buckie in 1947 and continues today with Angus’ paintings from memory. But overall the East Coast has been the favoured home of the group, perhaps due to a combination of beauty and accessability as the painters aged. As happened with watercolourists generally over the years, the group’s paper supports grew in size with availability, increasing ease of transport, change in fashion and increasing community wealth. Initially Angus had introduced his companions (and also Carington Smith) to large-sheet Arches paper making these larger works feasible. It is a more difficult matter to trace the developments of style as a group and individually in terms of cause and effect. Angus was a professional, very sure of himself and dominant in the group. His extraordinary understanding of colour and blending lead to palette choices over the years which have become almost the defining feature of Tasmanian watercolour landscapes. He and Giles combined these colours with subtle washes to beautiful effect, retaining the simplicity of earlier compositions with newfound translucence. At his best Angus has produced, throughout his long career, sketches unrivalled in their elegance and simple beauty. Quickly painted they may have been, but long contemplation preceded each. Buckie, by way of contrast, was a quiet person who got on with his painting, but every so often would assert himself with Angus [10]. His oeuvre gives an unrivalled glimpse of Tasmanian watercolour over forty years. He was the most artistically mature of the ‘Sunday Painters’ and a close associate of both the two major water- colourists of his time. He admired Connor and was influenced by him, and his style then remained virtually unchanged until a combination of illness and the influence of Angus led him to move to a freer technique with simpler compositions on larger paper late in the 1960s. He was technically the most accomplished watercolourist the state has seen.

5 What were described by Buckie as ‘visits from Mr. Parkinson’ made painting and travelling increasingly difficult in the 1970’s. This may have necessitated his move to simple and atmospheric compositions painted with a freer technique on larger paper, as for example Towards Maria Island and the rather sad late Boats at Anchor. The group interaction with Giles and Vaughan is even less clear. Both arrived when the group had been working together for some years. Each maintained more of a variety of style, medium, and subject material throughout their career than did Angus and particularly Buckie and Cox. The evidence is clear that Angus was a major influence on Giles’ watercolours, but there is less evidence of change in Vaughan’s work. To a greater extent she continued to paint outside the group environment both in Tasmania and oversees. Cox was perhaps enjoying the opportunities and freedom arising from his position as a chairman rather than as an artisan. His output is significantly less than that of his companions and this, together with difficulty in dating his work, makes it risky to conjecture a change in technique over time.

The paintings

What of the quality of work produced? In a way the ‘Sunday Painters’ played a role comparable with the nineteenth Century Tasmanian portraitists a century earlier. They were the journeymen of their era, compelled by photography to eschew simple likeness for atmosphere and modest innovation. But who shone above them? Was theirs an era without stars? Some of the answers will only become clear through the looking glass of time, and there may well be one or two gems from each of the core members which will continue to be held in high regard and may even be seen to be representative of the best of their era.

6 Chapter 1

Max Angus, born 1914: Eight watercolours, a charcoal portrait study, and two pen and ink drawings

Bay on the Derwent River, 1957 stock no. 470 watercolour 24.5 37 cm (sight) signed× lower right ‘Max Angus’ in original artist’s frame and hand-painted double mount

Exhibited: November 1957, Tasmanian Group of Painters, 18th Annual Exhibition, TMAG, Hobart, no.1, 12 guineas [8].

Provenance: Not known - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p86 (illust.).

Additional information: Verso on the backing upper [handwritten large, in the artist’s hand] ‘A Bay on the Derwent River / Max Angus / ** guineas ’.

Winter Landscape, winter of 1959 stock no. 419 watercolour 37.2 42.8 cm (sight) signed× lower right ‘Max Angus’ in original artist’s frame and hand-painted mount

Exhibited: August 1959, Tasmanian Group of Painters, 20th Annual Exhibition, TMAG, Hobart, no.3, 25 guineas [8].

Provenance: Not known - 2006 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p87 (illust.).

Additional information: Verso on the backing upper [handwritten large in pencil, in the artist’s hand] ‘Winter Landscape / 25 guineas / Max Angus’.

7 Kelly’s Steps, 1970 stock no. 362 pen and ink 30 19.5 cm (sight) signed× lower right ‘Max Angus’

Provenance: Not known - 2006 Private collection, Hobart.

Additional information: Verso on original backing [in ballpoint] ‘Kelly’s Steps, Hobart, 1970’.

Tasman Bridge and Derwent River Hobart, c1970 stock no. 705 watercolour 52 39 cm (sight) signed× lower left ‘Max Angus’

Provenance: Sir George Cartland - 2009 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p88 (illust.).

Blue Gum Forest, c1970 stock no. 706 watercolour 53 38 cm (sight) signed× lower right ‘Max Angus’

Provenance: Sir George Cartland - 2009 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p88 (illust.).

Additional information: Verso [large in artist’s hand in soft-tipped pen] ‘7. [cir- cled] / $95 / Blue Gum Forest / Max Angus’ .

Across the Bay, c1970 stock no. 707 watercolour 34 47 cm (sight) signed× lower right ‘Max Angus’

Provenance: Sir George Cartland - 2009 Private collection, Hobart.

Additional information: Verso [large in artist’s hand in soft-tipped pen] ‘26. [cir- cled] / $75 / Across the Bay / Max Angus’ .

8 Winter Sea Binnalong Bay, winter of 1973 stock no. 666 watercolour 47 34 cm (sight) signed× lower right ‘Max Angus’

Provenance: Not known - 2009 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p85 (illust.).

Additional information: Verso on the backing upper left [in ballpoint] ‘2 Winter Sea, Binnalong Bay $90’. In December 1972 Angus exhibited nine summer-time paintings of Binnalong Bay in the price range $70 to $85. In December 1973 he showed one only, priced at $100. We deduce from both price and title that this work was painted in the winter of 1973.

Rita Streich, a Portrait Study, 1974 stock no. 694 charcoal on grey paper 48 35 cm (sight) signed× lower right ‘Max Angus’

Provenance: The artist’s collection - The Salamanca Collection - 2009 Private col- lection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p89 (illust.).

Additional information: A study for the oil portrait of the opera diva. The oil was hung in the Archibald Prize Competition (but not judged, as the sitter was not Australian). Both study and portrait were completed in the one evening during the singer’s 1974 visit to the state [29]. The portrait is in the collection of the sitter.

Hobart from Lewis Street, 1980 stock no. 692 pen and grey wash 33.6 46 cm (sight) signed× lower right ‘Max Angus’

Provenance: By commission, owners of 6 Lewis Street - 2009 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p91 (illust.).

Additional information: A view of Hobart and the Derwent and Eastern shore hills from the garden at 6 Lewis Street, North Hobart. The Institute for the Blind (now Rydges Conference Centre) occupies the fore- ground with its traditional Tasmanian Government-school building style prominent. The tall building in the centre distance is the Campbell Street Royal Hobart Hospital wing. The lift tower of the Hobart Technical College is to its right, and the

9 Police Station, completed in July 1990, is not yet begun. To its left are a crane and the beginnings of the TAFE Campbell Street campus. The campus building was opened by HRH Prince Charles on 21st April 1981. Further to the left are the motel at the Liverpool Street roundabout and a build- ing, since demolished, on the site of the Grand Chancellor Hotel.

Evening, Bay of Fires, March 1988 stock no. 238 watercolour 41.3 57.6 cm (sight) signed× lower right ‘Max Angus’

Provenance: Not known - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p90 (illust.).

Additional information: Verso on the backing upper [handwritten in black on a printed Max Angus label] ‘EVENING, THE GARDENS, BAY OF FIRES / WA- TERCOLOUR / $350 (insurance $500) / March 88’.

Autumn Day East Coast, April 1988 stock no. 556 watercolour 41.3 57.6 cm (sight) signed× lower left ‘Max Angus’

Provenance: Not known - 2007 Private collection, Hobart.

Additional information: Verso on the backing upper left [large, in texta] ‘4’; and [handwritten in black on a printed Max Angus label] ‘Autumn Day East Coast / Watercolour / $500 / April 88’.

10 Chapter 2

Harry Buckie, 1897–1982: Eighteen watercolour landscapes and a photograph

Barges, 1935–36 stock no.340 watercolour 20.6 19.6 cm (sight) signed× lower right ‘HBUCKIE’ with H and B in monogram

Exhibitions: March 1936, 52nd Annual Exhibition of the Art Society of Tasmania, Hobart, no.104, 2 guineas.

Provenance: Not known - 2006 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p241 (illust.).

Additional information: Verso is the original label. Barges is one of the first five works Buckie painted in Tasmania when he arrived from Queensland in 1935 to take up his position as a draughtsman with the Hydro Electric Commission. It was painted over the summer, ready for the March exhibition of the Art Society, and was shown, together with a Queensland landscape and four other Tasmanian scenes by Buckie.

The ‘White Pheasant’ Goulbourn Street, 1936–37 stock no.383 watercolour 21.8 25.7 cm (sight) signed× lower right ‘HBUCKIE’ with H and B in monogram in original frame, mount, and inscribed backing

Exhibitions: March 1937, 53rd Annual Exhibition Art Society of Tasmania, no. 88, seven guineas. March 1941, 57th Annual Exhibition Art Society of Tasmania, no. 67, four guineas. 8-27 September 1981, Harry Buckie Watercolours, TMAG, Hobart, no. 2.

References: Fifty Years of Painting in Tasmania 1925–1975, p242 (illust.).

11 Provenance: Not known - Collection of J. Rayner - Not known - 2006 Private col- lection, Hobart.

Additional information: The ‘White Pheasant’ is one of the first works Buckie painted in Tasmania after arriving from Queensland in 1935 to take up his position as a draughtsman with the Hydro Electric Commission. This watercolour, and one other, were shown in the March 1937 exhibition of the Art Society, and painted sometime in the preceding twelve months. Verso, pasted on original brown paper covering the backing, is a typed label from the 1981 Tasmanian Art Gallery and Museum Retrospective Exhibition, ‘2 ‘THE WHITE PHEASANT’ GOULBOURN STREET, HOBART c1935’. On the paper [printed, in ink] ‘No 2 / The “White Pheasant” Goulbourn St.’ and [cursive, in older ink] ‘Donated by Mr. H. Buckie / Hydro dept / reserve [pounds] 12-12- / auctioned 1 3 ’. ∗ The∗ inscription following the word ‘reserve’ has been over-written and underlined in pencil. The over-writing of ‘1 3 ’, at least, was done at some time after the paper developed aging cracks, and it is∗ unclear∗ if other characters lie under. The work was exhibited and for sale in the 1937 Art Society Exhibition. It may have remained un-sold and later been donated by the artist for some charitable auction during the War years.

The Barn, 1942–45 stock no.641 watercolour 26.1 36 cm (sight) signed× lower right ‘HBUCKIE’ with H and B in monogram

Provenance: Not known - 5th August 2005 Ian Cornelius, Hobart - 9th September 2006 Martin McBain, Launceston - 2008 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p243 (illust.).

Additional information: Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, also as ‘H BUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 he used the latter two signatures. From October 1953 (or possibly some years earlier) he signed ‘Harry Buckie’ and continued to do so [2, page 207]. Thus the work is from a time no later than 1945. The Agnew family owned the ‘Waverley’ property a few miles west of Oatlands. Following the Depression they chose to live in Hobart and leased the property to Patricia Scott’s father. Stewart Agnew lived on the property with the Scotts after finishing school, later marrying Marie Reynolds and running the property himself for many years. The second Mrs. Buckie [11] was a good friend of Marie, and after she and Harry married in 1942 they often travelled to Oatlands by bus, were met, and spent time at ‘Waverley’. Three watercolours arising from these visits, all dated 1950, were loaned by Stewart Agnew for the Buckie Retrospective Exhibition [13]. We thus have reasonable grounds for believing this painting is of a barn at the property. Furthermore, the painting was sold at Gowan’s Auctions in 2005 at about the time that the Agnews’ estate was being settled. In a moment of high drama another Buckie farm scene The Stables at ‘Waverley’, painted circa 1945-53, was discovered and rescued from its place hidden between the support and backing of The Barn as

12 the latter was offered at the auction. However Patricia Scott is adamant that the barn pictured was not at ’Waverley’ [11]. If not, it may possibly have been at ’Okehampton’ on Tasmania’s East Coast. The Buckies visited ‘Okehampton’ often in the 1940s, following Harry’s second mar- riage, and he showed many watercolours painted at the property [6] during the period 1942-45. Unfortunately, most of the wooden buildings on the property vanished in the 1967 bushfires.

Federation Peak from the Cracroft Plains, December 1947–January 1948 stock no.347 watercolour 29.5 33 cm (sight) signed× lower right ‘H BUCKIE’

Provenance: Not known - 2006 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p244 (illust.).

Additional information: Another painting of Federation Peak, (from Huon Plains [sic]) [13, cat.no.15, illust.], was painted by Buckie, as rain swept nearer and compan- ions grew edgy [14], on the walk out to Geeveston from Lake Pedder after the first landing by aeroplane on the beach of Lake Pedder in December 1947. The two works are identical in composition. Each was painted from a spot near the Cracroft Crossing at the edge of the Cracroft Plains (mistakenly called the Huon Plains in [13, catalogue no. 15]). The weather may have been a factor in this work also as some washes in the foliage are darker at the edges suggesting more hurried application than customary. Pencilled-in cumulus clouds were overtaken by events and an ominous swirling bank of raincloud painted in their place! Buckie exhibited one painting from his 1947-48 trip to Pedder [6, 1948 catalogue], and no more from the Lake Pedder area until he showed six paintings, five of views near Pedder and one of Mt. Wedge, in March 1954, [6, 1954 catalogue], and a few in later years. We know that Harry visited Lake Pedder in the summer of 1947-48, walking out via Geeveston. We infer from the above paragraph that he did not re-visit the area until the summer of 1953-54, and moreover it is likely that he flew in, walked and painted in the vicinity of the lake, and painted Mt Wedge [6, catalogue no. 7] on the walk out. Mt. Wedge, not easily seen from the track to Geeveston, is a natural subject for painting from the alternative route out to Maydena. We conclude that on this 1953-54 visit Buckie’s party walked out via Maydena rather than Geeveston. As Federation Peak from the Cracroft Plains was painted from a point on the track to Geeveston, not the track to Maydena, we tentatively conclude that it was painted in the summer of 1947-48 rather than on Buckie’s later visit to Lake Pedder. The signature lends weight to this view. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, as ‘H BUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 he used the latter two signatures. From October 1953 (or possibly some years earlier) he signed ‘Harry Buckie’ and continued to do so [2, page 207]. But in any case the signature ‘H BUCKIE’ on Federation Peak, from the Cracroft Plains also supports the summer of 1947-48 as the work’s date rather than the summer of 1953-54. On balance, we incline to the view that Buckie painted Federation Peak twice on

13 his first trek, firstly on 30th December 1947 [13, catalogue no. 15, dated 30.12.47] under difficult conditions [14], and a second time under more relaxed conditions prob- ably on the last day of the old year. This work is the latter painting.

Jordan River, January–March 1948 stock no.560 watercolour 24.7 32.8 cm (sight) signed× lower right ‘H.BUCKIE’ in original R.Hook frame and mount

Exhibitions: April 1948, 64th Annual Exhibition of the Art Society of Tasmania, Hobart, no.12, eight guineas.

Provenance: Not known - 2007 Gowan’s Antique Auction, from an estate - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p245 (illust.).

Additional information: Verso, on the cardboard pasted to the paper support, top right [in ink, in the artist’s hand] ‘ “JORDAN RIVER” / £8 8 0 / H.BUCKIE’. Also, centre is an R Hook framer’s label, order no. 6744, dated− 25−/3/48. The work was painted following Buckie’s walk out, in January, from Lake Pedder. In december 1947 his small party was the first to fly to the lake and land. They then walked out to Geeveston. Jordan River was painted following this trip, framed in March, and shown in the Art Society of Tasmania’s annual exhibition held in the Tasmanian Museum and Art Gallery in April. It was one of only two paintings he showed that year.

The Stables at ‘Waverley’, 1945–53 stock no.244 watercolour 29 37.3 cm (sight) signed× lower right ‘H BUCKIE’

Provenance: Not known - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p246 (illust.).

Additional information: The sandstone stables are on the ‘Waverley’ property west of Oatlands in the Tasmanian Midlands. It is one of his best. . . , masterly in the subtle variations in the treat- ment of the stone, and his little ‘colour touches’ in the hint of rust on the roof. [10] Buckie has created the effect of distance and hillside in the almost featureless straw coloured grass of the foreground, and made the pine tree solid and dark in an excellent but simple composition. The Agnew family owned the ‘Waverley’ property a few miles west of Oatlands. They raced ‘Abyssinia’, a Melbourne Cup winner, which has its grave and tombstone

14 near the road into the property. The famiy later ‘got religion’ and also lost heavily during the Depression. Consequently they chose to live in Hobart with the children, including their son Stewart, rather than send them to boarding school. At this time Patricia Scott’s father leased ‘Waverley’, and Patricia remembers that her nieces called the derelict stables ‘Rat and Mouse House’ for obvious reasons! Stewart lived on the property with them after finishing school. He married Marie Reynolds on 20 December 1939 and ran the property himself for many years. The second Mrs. Buckie [11] was a good friend of Marie, and after she and Harry married in 1942 they often travelled to Oatlands by bus, were met, and spent time at ‘Waverley’. Three watercolours arising from these visits, all dated 1950, were loaned by Stewart Agnew for the Buckie Retrospective Exhibition [13]. We thus have reasonable grounds for believing this painting is from the same period. The signature ‘H BUCKIE’ lends weight to this view. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, also as ‘H BUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 he used the latter two signatures. From October 1953 (or possibly some years earlier) he signed ‘Harry Buckie’ and continued to do so [?]. The painting was discovered at Gowan’s Auctions in 2005, at about the time that the Agnews’ estate was being settled. In a moment of high drama it was rescued from its place hidden between the support and backing of The Barn as the latter was offered for sale at the auction. The support of The Stables at ‘Waverley’ is pasted to cardboard, On the left-hand side of the cardboard, beside the paper support, is a sketch [in blue ballpoint pen] of a seated older woman.

Dead Tree Pattern, 1950–55 stock no.610 watercolour 35.2 33.2 cm (sight) signed× lower right ‘Harry Buckie’ in the artist’s original framing and hand-painted French-lined mount

Exhibitions: November 1955, Tasmanian Group of Painters 16th Exhibition, Ho- bart, no.12, [8].

References: Fifty Years of Painting in Tasmania 1925–1975, p247 (illust.).

Provenance: Not known - 12th July 2008 Gowans’ Antique Auction - 2008 Private collection, Hobart.

Additional information: Removing the mount reveals more of the original paint- ing, which measured at least 39.5 41.5cm. Buckie drew several pencil outlines for positioning a mount, focusing attention× on the foreground tree for a well-balanced composition. The omitted area, mainly foreground, has been partially torn away, and Buckie has re-signed the work (with an erased signature a little to the right of the inked final version). The masking of strongly coloured foreground grass and red-brown soil by the mount, has focussed attention on the complex shapes of the trunks and branches of the few dead trees. Buckie’s aim is epitomised by his choice of title, namely Dead Tree Pattern. The paper support was glued to a larger piece of cardboard. Interestingly, this cardboard is also secondhand, as verso are the few remains of another watercolour,

15 presumably also by Buckie, and its mount. Remaining fragments of pencilled out- lining here are consistent with his general practice (see, for example, recto). The home-made frame is painted white, and it and the mount offer an attractive and economical setting for the watercolour. We have preserved this presentation. Verso on Buckie’s hand-painted mount [printed, blue ink, in the artist’s hand] ’VICTORIA D[missing] / £15 1[missing] / H. [missing]’. This strongly supports the case for this cardboard to have− originally been used as a backing board for another painting. From [13] it is tempting to assume that the work in question was the 1955 work Victoria Dock, Hobart, Tasmania, as this seems to be the only painting with a suitable title that was painted when Buckie’s works were offered at fifteen guineas. This confirms 1955 as an earliest date for the framing of Dead Tree Pattern.The style of signature is from a date after 1950, agreeing with our discussion. Together with an exhibition date in 1955, this information puts the date for the painting of Dead Tree Pattern in the years 1950-55. The omitted foreground is very reminiscent of that in The Stables at ‘Waverley’ and suggests that the two were painted circa 1950 when the Buckies were frequent guests at ’Waverley’.

The Derwent from Taroona Heights, c1956 stock no.220 watercolour 25.2 35.8 cm (sight) signed× lower left ‘Harry Buckie’ in the artist’s original hand-painted mount

Provenance: Commissioned by the family of Mr. Norman Bates (1931-2003) - 2003 By descent - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p248 (illust.).

Additional information: The work shows the view from Bates’ property in the hills south of Taroona. It passed to Mr. Bates’ son by descent and first appeared in the public domain at auction in May 2005. The signature lends weight to this view. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, as ‘H BUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 he used the latter two signatures. From October 1953 (or possibly some years earlier) he signed ‘Harry Buckie’ and continued to do so. We thus have reasonable grounds for believing this painting to be from the period after 1950. In addition, we know from annotations [6, 1956 catalogue], that Mr. Bates took an option on a Buckie painting in March 1956, and later cancelled it. He may have decided instead to commission The Derwent from Taroona Heights directly from the artist. The brown cardboard mount is hand-painted by Buckie in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, pop- ularised in Tasmania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time. The support is pasted to a brown cardboard backing. Verso, on the backing, top right [in ballpoint] ‘THE DERWENT FROM TAROONA HEIGHTS’, top left [in pencil] ‘Mr. Bates / c/o Leyland Motors / 20 + 16 / 11/2 DD Wax Nat / acs(?) / 14th Feb’.

16 Rock Pool, circa late 1950s stock no.313 watercolour 18.3 25.9 cm (sight) unsigned× and undated in the artist’s hand-painted mount

Provenance: Not known - 2004 Gowan’s Auctions, from an estate - 2004 Private collection, Hobart

Additional information: The work came from the same estate as Silver Light. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popularised in Tas- mania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing in the late 1950s. The view of Simpson’s Gap painted on his 1958 visit to Central Australia with Ralph Hope-Johnstone uses a version of this mounting style, giving an approximate date for the painting.

Silver Light, 1958 stock no.76 watercolour 25 32.6cm signed× and dated lower left ‘Harry Buckie 1958’ in the artist’s frame and hand-painted mount

Exhibitions: May 1960, 76th Annual Exhibition of the Art Society of Tasmania, Hobart, no.9, fifteen guineas. May 1961, 77th Annual Exhibition of the Art Society of Tasmania Hobart, no.12, fourteen guineas. September 1961, 22nd Annual Exhibition of the Tasmanian Group of Painters, Hobart, no.9, sixteen guineas.

Provenance: Not known - 2004 Gowan’s Auctions, from an estate - 2004 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p249 (illust.).

Additional information: The scene looks north along Lisdillon Beach past Boag’s Point to the Hazards. Verso, on the backing, top right in ink, ‘SILVER LIGHT / £10.10.0 / [not in the artist’s hand] H. Buckie / 40A Montagu St. / Lenah Valley’ and in the centre [in a different, also not the artist’s, hand] in biro, ‘To Clair and Alf / A gift of nostalgia of our own East Coast / From Nora and from Marge’. The Buckies sometimes stayed with some friends “called Nora and Marge” at their cottage a little south of Swansea [10]. It is possible that they are the couple referred to in this inscription. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popularised in Tas- mania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time.

17 Simpson’s Gap, 1958 stock no.446 watercolour 27.9 38.1 cm (sight) signed× lower right ‘Harry Buckie’ in original frame, and artist’s hand-painted mount

Exhibitions: 1959 [15] (or, less likely, in 1960 [28]), Central Australia, Fitzgerald’s Auditorium, no.11.

Provenance: Not known - 2007 Gowan’s Antique Auction, from an estate - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p250 (illust.).

Additional information: Verso, on the cardboard pasted to the paper support, top in ballpoint, ‘Simpson’s Gap, Macdonnell Range N.T.’ This is printed over [in pencil, handwritten in the artist’s hand] ‘for Simpson’s Gap’. On the frame [in pencil] ‘Simpson’s Gap (near)’ and ‘No 11’. Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob- ably during the winter. This work was painted on that trip, and is in its original mount, hand-painted by the artist. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popularised in Tas- mania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time.

Red Bank and Desert Oak, Palm River, 1958 stock no.640 watercolour 27 37 cm (sight) signed× lower right ‘Harry Buckie’ in original frame, and artist’s hand-painted mount

Exhibitions: 1959 [15] (or, less likely, in 1960 [28]), Central Australia, Fitzgerald’s Auditorium, no.1.

Provenance: Not known - 2008 Gowan’s Antique Auction, from an estate - 2008 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p251 (illust.).

Additional information: Verso upper left top, on the the original pasted paper backing, ’No 1 / Red Bank and Desert Oak, Palmer River’. Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob- ably during the winter. This work was painted on that trip, and is in its original mount, hand-painted by the artist. The Stuart Highway crosses the Palmer River about 150 kilometers south of Alice Springs. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popularised in Tas- mania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time.

18 East Coast, Near Binnalong Bay, summer of 1965–66 stock no.698 watercolour 35 48 cm (sight) signed× lower right ‘Harry Buckie’ in original frame and mount

Exhibitions: Possibly 1966, Five Hobart Painters Don Camillo Restaurant , (as East Coast, Near Binnalong Bay), $50.00.

Provenance: Not known - 2009 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p252 (illust.).

Additional information: In an atmospheric view of the waters offTasmania’s East Coast on a day with white clouds and a light sea mist. Buckie’s treatment of the seascape illustrates the beginning of his transition from his earlier Cotman-like technique to the Angus-inspired communal style of the ‘Sunday Painters’ group. Verso [in the artist’s hand] ‘EAST COAST, NEAR BINNALONG BAY’ / $50.00 / Harry Buckie, / 409 Sandy Bay Rd, / Sandy Bay 7005’. Decimal currency was introduced in February 1966, and Buckie’s paintings were all priced at $55 in the 1967 Don Camillo exhibition. Thus if the notes verso refer to a Don Camillo hanging it could only have been in 1966, suggesting that the work was painted in the summer of 1965–66. Other than annual Art Society of Tasmania showings, these exhibitions at the Don Camillo of works painted by five members (Max Angus, Roy Cox, Patricia Giles, Elspeth Vaughan, and Buckie) of the ‘Sunday Painters’ on their regular Sunday ex- cursions were Buckie’s main outlet. There is no record of this work at the Art Society exhibitions, and it is of an area popular with the group, leading to the likleyhood that it was indeed shown at the Don Camillo restaurant.

possibly Low Tide at Cambridge, c1966 stock no.128 watercolour 34 39.5 cm (sight) signed× lower right ‘Harry Buckie’

Exhibitions: Possibly May 1966, 82nd Annual Exhibition of the Art Society of Tas- mania, Hobart, no.6 (as Low Tide at Cambridge), $45.

Provenance: Not known - Bathurst Antiques - 2004 Private collection, Hobart.

Additional information: Verso, on the backing upper right ‘45 dollars [in black, crossed out] / [in blue ballpoint] 40’. Decimal currency was introduced in February 1966. Forty-five dollars was the price Buckie asked for other paintings in 1966. At this time he often painted in company with Max Angus and the Sunday Group in the coastal areas near Hobart and the influence of Angus is obvious in this partic- ularly good example of Buckie’s later work [10].

19 Towards Maria Island, 1970–71 stock no.615 watercolour 36.2 47 cm (sight) signed× lower right ‘Harry Buckie’ in original mount and framing

Exhibitions: March 1971, Five Hobart Painters, Don Camillo Restaurant Hobart, no.9 (as Black Man Bay), $60. 8-27 September 1981, Harry Buckie Watercolours, TMAG, Hobart, no. 45.

Provenance: Miss Margaret Amy Crocker, Dynnyrne - 2008 Private collection, Ho- bart.

References: Fifty Years of Painting in Tasmania 1925–1975, p254 (illust.).

Additional information: Verso on the paper support [top, printed, in artist’s hand] ’BLACKMAN BAY / NEAR DUNNALLY / TAS’. Verso [attached to the cardboard backing] is a request from the Director of the TMAG for loan-paintings for the upcoming September 1981 Harry Buckie Water- colours exhibition, a loan acknowledgement for Towards Maria Island, a thank-you letter, a TMAG identification slip, an invitation to the Opening of the Exhibition, and an envelope addressed to Mrs. [sic] Crocker from the TMAG with a notation [in cursive, on the outside] ’Harry’s Exhibition’. Clearly the work was originally called Blackman Bay, near Dunnally but we have continued to use the equally applicable and better known Towards Maria Island under which it was shown at the TMAG. The annotation on the envelope referred to above indicates that Miss Crocker was on intimate terms with the Buckies but the dating of 1977 supplied by Miss Crocker to [and used by] the TMAG, would seem to be in error. Buckie’s paintings were increasingly of accessible East Coast scenes during the 1970s as intermittent bouts associated with Parkinson’s disease made painting and travel difficult for the artist.

Mt Anne & Mt Solitary from Lake Pedder, 1971 stock no.725 watercolour 36 48 cm (sight) unsigned× and undated

Provenance: Mrs RH Berriman - Not known - 2010 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p253 (illust.), (as Mt Anne from Lake Pedder).

Additional information: Verso on the backing [in blue ballpoint] ‘Mrs RH Berri- man / 52 Flinders Esplanade / Taroona’.

20 Harmony in Grey, possibly c1976 stock no.123 watercolour 34 46.5 cm (sight) signed× lower right ‘Harry Buckie’

Exhibitions: Possibly May-June 1976, 92nd Annual Exhibition of the Art Society of Tasmania, Hobart, no.10 (as The Two Gums), $75.

Provenance: Not known - Bathurst Antiques - 2004 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p256 (illust.).

Additional information: Verso, on the backing, [printed in Buckie’s hand] ‘No 3 “HARMONY IN GREY” / Harry Buckie / 2 409 Sandy Bay Rd., / Sandy Bay. 7005.’, also ‘$[blacked out] RESERVE $[blacked out]’.| Decimal currency was introduced in February 1966, and Buckie moved to this address also in 1966 [38]. Some stiffness in the brushwork suggests that this was painted after Parkinson’s disease began affecting Buckie’s work in the late 1970s [10]. The opening in the original mount was unnecessarily small and was enlarged 15mm on all four sides and the painting repositioned in 2004. Buckie had signed the painting twice, one signature being hidden by the original mounting.

Boats at Anchor, after 1977 stock no.616 watercolour 26.2 37 cm (sight) signed× lower right ‘Harry Buckie’

Provenance: Miss Margaret Amy Crocker, Dynnyrne - 2008 Private collection, Ho- bart.

References: Fifty Years of Painting in Tasmania 1925–1975, p257 (illust.).

Additional information: The signature is laboured, unlike the confident ’Harry Buckie’ of earlier times. This is a sad but elegant small wash sketch, with no pencil outlining. A fine draughtsman, forced to yield as Parkinson’s disease took hold, the artist was still able to paint a small atmospheric gem. Only a little unusual cloisonnist outlining in the immediate foreground hints at his struggle with the disease.

21

Chapter 3

Roy Cox 1898–1983: Three watercolour landscapes and a linocut

The Hutchins School Old Porch, 1930 stock no.663 coloured linocut 19 11.4 cm (sight) signed× and inscribed lower ‘No. 7 The Hutchins School Old Porch Roy Cox 1930’

Exhibitions: March 1931, Art Society of Tasmania 47th Annual Exhibition, no.106 (as The Hutchins School Old Porch, unframed), 1 gn.

Provenance: Not known - 2009 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p126 (illust.).

Additional information: Cox showed two unframed linocuts with the Art Society of Tasmania in 1931, two watercolours, a lithograph and another linocut in 1933. It was 1950 before he exhibited again with the Society, and these later works were all watercolours.

Rain Squall Mount Wellington, c1965 stock no.481 watercolour 36 52 cm (sight) signed× lower left ‘ROY COX’

Exhibitions: March 1971,Five Hobart Painters Don Camillo Restaurant Hobart, no.18 (as Country Road), $78.

Provenance: Not known - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p127 (illust.).

Additional information: Verso on the paper support, upper left [lightly] ‘A44’. Also [handwritten, in pencil] ‘26 / Mt Wellington / Landscape’. On the backing board upper right [lightly, in biro] ‘26’ and upper left a printed

23 label ‘Roy Cox Rain squall, Mount Wellington c1965 / Watercolour on paper, framed 36h x 52w cm (visible image)’. The reverse of this label describes a 1975 still-life by Telfer Dennis. It is likely that the work was shown at an Exhibition of the artist, number 26 in the catalogue. It does not appear [6], [9] in any of the Art Society or Museum group exhibitions that included his work.

Country Road NW Coast, 1970–71 stock no.260 watercolour 36 50 cm (sight) signed× lower right ‘ROY COX’

Exhibitions: March 1971,Five Hobart Painters Don Camillo Restaurant Hobart, no.18 (as Country Road), $78.

Provenance: Not known - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p128 (illust.).

Additional information: Verso on the cardboard backing, centre [handwritten, in black ink] ‘Country Road, N.W. Coast Cox 78’, and lower [covered by masking tape, handwritten in different hand in soft tipped pen] ‘South Arm / Roy Cox 85 dollars’. Cox’s prices, prior to the introduction of decimal currency in February 1966, were all in guineas, and none exceeded 40 guineas [6]. He showed three paintings each priced at $84 (the exact equivalent of 40 guineas) at the 1966 Art Society Exhibition, and two in 1967 priced at $84 and $75 respectively. He showed two watercolours, one at $65 and one at $95, in the 1968 Exhibition. He showed two paintings in 1969 priced at $75 and $85, two in 1970 at $70 and $80, two in 1971 at $78 and $85, two in 1972 at $80 and $85, and two, each priced at $85, in his last showing in 1973. The titles in the Catalogues are quite descriptive and preclude any of those listed above being Country Road, N.W. Coast. This makes it likely that this work was painted in the summer of 1970–71 and sold in March 1971 at the Don Camillo exhi- bition.

Stone Houses on a Winter’s Morning stock no.756 watercolour 34 44.5 cm (sight) signed× lower right ‘Roy Cox’

Provenance: Not known - 2010 Private collection, Hobart.

Additional information: A winter view of a country town street, lined with de- ciduous trees and sandstone buildings. A few months after this was sold at Gowans’ Auctions a second version of the same scene, but with the trees in leaf, was also sold at auction.

24 Chapter 4

Patricia Giles, born 1932: Eleven watercolours and an oil painting

Button Grass Lune River, 1967 stock no.66 watercolour 35.7 53.3cm signed× lower right ‘Patricia Giles’

Provenance: Not known - 2004 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p129 (illust.).

Additional information: Verso on the backing; upper left is [in pencil] unframed [in blue crayon] ‘$40’, [in artist’s hand, in ballpoint] ‘BUTTON GRASS, LUNE RIVER. / $[crossed out], lower left ‘WATER COLOUR SECTION.’, centre [large, in black crayon, circled] ‘225’; Lower right is a cutting [undated but from the Mercury newspaper in approxi- mately 1983] titled ‘Bush is Painters Paradise’ and including a photo of the artist and a synopsis of her career to that time. The price of $40 is consistent with the prices asked for the artist’s watercolours before the iconic Lake Pedder Exhibition of 1971 [17]. The work was painted after the bushfires of February 1967, .. the black sticks were all that was left of the bushes but the button grass had started regrowing. [12] The artist was there with her parents, who collected gemstones and were looking for fossilised fern. The day stands out in Patricia’s memory because, in scouring the burnt earth for fossilised wood, her mother found a pawprint and became very excited. She remembered her grandfather shooting a Tasmanian tiger high on the wooded slopes behind Middleton where they lived, and this was the same mark. The finding was reported in the next day’s Mercury newspaper.

Mountain Rock Gardens, stock no.784 watercolour 53.5 75 cm (sight) signed× lower right ‘Patricia Giles.’

25 Provenance: Not known - 2010 Private collection, Hobart.

Additional information: Verso on the support is written [in blue ballpoint] ’Moun- tain Rock Gardens $140’. Verso on the backing is written [in blue soft tipped pen] ’#18’, and [in red soft tipped pen] ’Mountain Rock Gardens Tas. / $140 / Patricia Giles / 8 Braddon Ave / Hobart. / Tas.’.

Mount Solitary, 1971 stock no.74 watercolour 34.8 46.9cm signed× lower right ‘Patricia Giles’

Exhibitions: November 1971, Lake Pedder 1971, Saddler’s Court Gallery and the TMAG, no.55, $55 [17].

Provenance: 1971 Saddlers’ Court Gallery - Not known - 2004 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p131 (illust.).

Additional information: The artist

... put my heart and soul into these Pedder paintings. [12] as they were part of the effort to stop the flooding of the lake [17]. She later wished that she had kept more of them herself. Verso on the backing; upper left a red sticker and [in black ink] “‘LAKE PED- DER 1971”’ and [printed on a label] ‘55 [underlined] MOUNT SOLITARY / $55 / PATRICIA GILES / 8 BRADDON AVE. / SANDY BAY / HOBART / TAS.’ ; and upper right [in blue ballpoint] ‘4G20’ and [in pencil, cursive] ‘Saddlers Court’.

Moon Sinking behind the Franklands, 1971 stock no.292 watercolour 34.8 46.9 cm (sight) signed× lower left ‘Patricia Giles’

Exhibitions: November 1971, Lake Pedder 1971, Saddler’s Court Gallery and the TMAG, no.58, $55 [17].

Provenance: 1971 Saddler’s Court Gallery - 1971 Mr Bill Bale - Not known - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p130 (illust.).

Additional information: The artist

... put my heart and soul into these Pedder paintings. [12]

26 as they were part of the effort to stop the flooding of the lake [17]. She later wished that she had kept more of them herself. Verso on backing; upper left [in black ink] ‘ “LAKE PEDDER 1971” / [under- lined] MOON SINKING BEHIND THE FRANKLANDS / $55 / PATRICIA GILES / 8 BRADDON AVE. / SANDY BAY / HOBART / TAS.’ ; and upper right [in pencil, cursive] ‘Saddler’s Court / Sold to / Bill Bale’.

Under the Trees at ‘Marchweil’, 1971 stock no.408 watercolour 33.9 46.9 cm (sight) signed× lower right ‘Patricia Giles’

Exhibitions: December 1971– January 1972, Patricia Giles, The Don Camillo Restaurant, Hobart, no.17, $60.

Provenance: Not known (together with Seabirds, Georges Bay) - 2006 Private col- lection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p132 (illust.).

Additional information: Verso on the backing; upper left [in black ink] ‘17 Under the Trees at ‘Marchweil’ / $60’ / PATRICIA GILES / 8 BRADDON AVE. / SANDY BAY / HOBART.’ This work and Seabirds, Georges bay were both shown at the same 1971 exhibition [39] and acquired from the same vendor at auction in 2006. The pastoral property ‘Marchweil’ on Tasmania’s East Coast is now owned by David Walch and is the continuing home of the annual ’Falls Festival’.

Seabirds, Georges Bay, 1971 stock no.409 watercolour 33.9 46.9 cm (sight) signed× lower right ‘Patricia Giles’

Exhibitions: December 1971– January 1972, Patricia Giles, The Don Camillo Restaurant, Hobart, no.20, $60 [39].

Provenance: Not known (together with Under the Trees at ‘Marchweil’) - 2006 Pri- vate collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p133 (illust.).

Additional information: Verso, the support has an abandoned version of the same scene. This abandoned, more detailed and different, treatment of the background hills and turbulent sky provides an interesting lesson in the choice in approach that artists must make. Upper left on the support is [in ballpoint] ‘SEABIRDS - GEORGES BAY $60’. Verso on the backing, upper left [in black ink] ‘20. SEABIRDS - GEORGES BAY / $60’ / PATRICIA GILES / 8 BRADDON AVE. / SANDY BAY / HOBART.’

27 This work and Under the Trees at Marcheil were both shown at the same 1971 exhibition [39] and acquired from the same vendor at auction in 2006.

Banksia, c1972 stock no.646 watercolour 54 38 cm signed× lower right ‘Patricia Giles’

Exhibitions: April 1973, Patricia Giles, Saddler’s Court Gallery, Richmond, no. 8, $90.

Provenance: Not known - 2008 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p134 (illust.).

Additional information: Verso on the support is the beginning of a pattern in watercolours. The painting was acquired at auction in 2008, unframed and with no supporting information. It has been subsequently framed in a secondhand frame of the appro- priate period. Patricia Giles is a prolific painter of native Tasmanian trees, flower studies, lichen patterns, and more generally of works suggested by the patterns of Nature. In par- ticular she has exhibited several works that feature banksias. However all but one, titled Banksia, involve in their titles other species or the use of the plural noun. We are therefore confident that this work is that shown in April 1973 [18] under the name Banksia.

Beach near Anson’s Bay, 1974 stock no.215 watercolour 39.7 53.7cm signed× lower left ‘Patricia Giles’

Exhibitions: March 1974, Patricia Giles, Tasmanian Watercolours, The Don Camillo Restaurant Hobart, no.14, $90.00.

Provenance: Not known - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p135 (illust.).

Additional information: Verso on the backing; upper left [in ballpoint] ‘14. Beach near Anson’s Bay / $90 / -Patricia Giles-’.

28 Spring Colour on the Hartz Mountains Plateau, stock no.757 September 1975 watercolour 39 53 cm (sight) signed× lower left ‘Patricia Giles’

Exhibitions: Possibly March 1976, Patricia Giles, Don Camillo Restaurant, no.27 as ‘Hartz Mountain Country’, $120. Possibly March 1977, Patricia Giles, Don Camillo Restaurant, no.26 as ’On the Hartz Mountains Plateau’, $140.

Provenance: Not known - 2010 Private collection, Hobart.

Additional information: A view of the Devil’s Backbone from the plateau and track to Mt Hartz and Mt Snowy. Verso on the support is written [in the artist’s hand, in black soft tipped pen] ’Spring Colour on the Hartz mtns / Plateau. / Patricia Giles. / Sept. 1975.’ The distinctive framing corner reinforcement is like that of Button Grass Lune River and two Elspeth Vaughan landscapes painted c1967 .

The Hills behind the Friendly Beaches, October 1978 stock no.766 watercolour 36.5 50 cm (sight) signed× lower right ‘Patricia Giles.’

Provenance: Mrs EM Agnew - Not known - 2010 Private collection, Hobart.

Additional information: Verso on the support is written [in blue soft tipped pen] ’Mrs. E.M. Agnew’, there is also a Taylor Framing label with artist, title, and date written.

Camelias with a Lemon and Mexicana, November 1984 stock no.184 oil on artists’ board 29.2 37 cm (sight) signed× lower left ‘Patricia Giles’

Exhibitions: November–December 1984, Patricia Giles, Exhibition of Paintings Salamanca Place Gallery Hobart, no.11, $400.00 [19].

Provenance: Not known - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p136 (illust.).

Additional information: Verso; upper centre [on silverfish eaten rectangular label] ‘[printed] TITLE [in black ink] CAMELLIAS WITH A LEMON AND MEXICANA / [printed] MEDIUM [in black ink] OIL / [printed] PRICE $ [in black ink] 400 / [printed] DATE [in black ink] NOV [printed] 19 [in black ink] 84 / [printed] by PA-

29 TRICIA GILES / 8 BRADDON AVENUE, / SANDY BAY, TASMANIA 7005’; and upper right is a section of boardmaker’s stamp ‘THE MORIL***’ and [in blue ball- point] ‘11.’.

Fluted Cape from Simpson’s Bay Bruny Island, c1985 stock no.585 watercolour 25 36.8 cm (sight) signed× lower right ‘Patricia Giles’

Exhibitions: December 1985, Patricia Giles Watercolours, Handmark Gallery, Ho- bart, no.6, $300.

Provenance: Not known - 2008 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p137 (illust.).

Additional information: Verso on the upper left of the support is [in pencil] ’Sold. Nomi $200 U/F’. This is a view of Fluted Cape across Simpson’s Bay and Adventure Bay from North Bruny on Tasmania’s South-East Coast. The artist was selling her framed water-colour landscapes of specific views, of more than twice the size of this scene [27], for between $450 and $600 in 1987, equivalent to a price of $375 to $525 unframed at the time, and suggesting a price between $175 and $250 for an unframed work of the style and small size of Fluted Cape from Simpson’s Bay, Bruny Island in that period. Her works offered before 1981 [21] were a little cheaper and, those from 1990 ex- hibitions [20], significantly more expensive.

30 Chapter 5

GeoffTyson, 1911–86: Six watercolour landscapes, three prints, and an ink and wash portrait sketch

ADryingSummerWind,1949 stock no.358 watercolour 24 34.3 cm (sight) signed× lower right ‘GeoffTyson ‘49’

Exhibitions: 5th–19th May 1949, The Launceston Art Society’s Exhibition, Launce- ston, no.74, 7 guineas.

Provenance: Not known - The Salamanca Collection - 2006 Private collection, Ho- bart.

References: Fifty Years of Painting in Tasmania 1925–1975, p138 (illust.).

Additional information: Verso upper centre, a Salamanca Collection label.

Country Track, 1953 stock no.599 watercolour 34.5 40 cm (sight) signed× lower right ‘GeoffTyson ’53’

Provenance: Not known - 2008 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p140 (illust.).

Additional information: Verso on support upper right [in the artist’s hand, in black ink] ’ 30 Talbot Rd., Launceston’.

31 Cloudy Bay Bruny Island, 1967 stock no.597 watercolour 33 53 cm (sight) signed× lower left ‘GeoffTyson / ’67’

Provenance: Not known - 2008 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p141 (illust.).

Additional information: Verso upper right [in the artist’s hand] ’Cloudy Bay, Bruni Island, $55 / Geoff. Tyson, 32 David St., Launceston’, and lower centre is a Whitelaws Galleries, Launceston, phone 63319466, framer’s label.

Goat Island near Ulverstone, 1968 stock no.434 watercolour 34.5 51 cm (sight) signed× lower right ‘GeoffTyson ’/ 68’ in original characteristic French-lined mount

Exhibitions: 4th–16th April 1978, Annual Exhibition of the Launceston Art Society Queen Victoria Museum, no.66, $195.

Provenance: Not known - Yorktown Books - 2006 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p142 (illust.).

Additional information: Barbara Chapman’s foreword [16] to the catalogue of the Queen Victoria Museum and Art Gallery’s 1982 exhibition GeoffTyson: Watercolours 1936–1980 comments that

‘... Some years, such as 1968, have been particularly fruitful, and a number of paintings of that period have been included’.

The Old Fish Beacon stock no.364 black and white print coloured, possibly by hand 11 15 cm (sight) signed× lower right ‘Geoff. Tyson’

Provenance: Not known - 2006 Private collection, Hobart.

Additional information: A small coloured print of a pencil sketch of the old bea- con at Low Head.

32 The Old Buoy stock no.366 black and white print 13 16.5 cm (sight) signed× lower right ‘Geoff. Tyson’

Provenance: Not known - 2006 Private collection, Hobart.

Additional information: A small print of a pencil sketch of a buoy washed up on a beach. Verso upper centre, a J M and J N Cocker framing label, ‘order no. GK18’, probably from the period 1960 80. −

Low Head stock no.365 black and white print 11 15.2 cm (sight) signed× lower right ‘GeoffTyson’

Provenance: Not known - 2006 Private collection, Hobart.

Additional information: A small print of a view of Low Head from a boat at the mouth of the Tamar.

Low Head, Tasmania stock no.367 watercolour 10.6 14.5 cm (sight) signed× lower right ‘GGT’

Provenance: Not known - 2006 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p139 (illust.).

Additional information: Verso upper centre, a Cocker framing label, probably from the period 1960 80. A small watercolour− coastal landscape. Green rolling gentle hills and bays fill the foreground, with the Low Head lighthouse rising behind. The view is from the opposite direction to that in the print Low Head. The palette uses a restrained but effective combination of greens.

Approaching Queenstown, 1980 stock no.601 watercolour 36 55.5 cm (sight) signed× lower right ‘GeoffTyson / ’80’

Provenance: Not known - 2008 Private collection, Hobart.

33 References: Fifty Years of Painting in Tasmania 1925–1975, p143 (illust.).

Additional information: Verso on support upper right [in black texta] ’APPROACH- ING QUEENSTOWN $240’ and [in the artist’s hand, in ballpoint] ’32 David St., Launceston’.

Ink and Wash Portrait Sketch stock no.642 ink and watercolour 32 26.3 cm (sight) signed× lower right ‘GeoffTyson’ in the artist’s French-lined mount verso another portrait sketch

Provenance: Not known - 2008 Private collection, Hobart.

Additional information: A pen and ochre-wash sketch of a man wearing shorts and long socks casually curled up in a carver chair. Verso is a pen and brown-wash sketch of a man in short-sleeved shirt and slacks, sitting casually on the floor.

34 Chapter 6

Elspeth Vaughan, born 1926: Nine watercolours and an oil painting

Tasmanian Highlands, 1964–65 stock no.447, oil on masonite 61 76.2 cm (sight) signed× lower right ‘Elspeth Vaughan’

Provenance: Not known - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p144 (illust.).

Additional information: Verso on the masonite, [handwritten large in black], ‘Elspeth Vaughan / 545 Sandy Bay Rd. Hobart / Tasmanian Highlands / Fifteen Guineas’. The price of fifteen guineas suggests the work was offered for sale in 1964 or 1965 [6], certainly before decimal currency arrived in 1966.

Victoria Dock, 1966 stock no.198, watercolour 36.5 53 cm (sight) signed× and dated lower left ‘ELSPETH VAUGHAN / 66’

Exhibitions: May 1966, 82nd Annual Exhibition of the Art Society of Tasmania, no.73, $42.

Provenance: Not known - donated to the Tasmanian Association of Disabled Per- sons Inc. probably in the 1970’s, possibly by the artist - 2005 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p145 (illust.).

Additional information: Verso on the cardboard backing upper left [handwritten in black soft tipped pen] ‘2. Victoria Dock / 42 dollars [the price had been blacked out]/ Elspeth Vaughan / 545 Sandy Bay Rd’. The unusual price probably was a con- sequence of the 1965 change to decimal currency, being equivalent to twenty guineas.

35 Coastal Bush, 1968 stock no.709, watercolour 39 53.5 cm (sight) signed× lower rightt ‘ELSPETH VAUGHAN’

Exhibitions: 26th October–15th November 1968, Exhibition of Paintings of Tasma- nia, Nepal and South East Asia by Elspeth Vaughan and Harry Buckie, no.16, $60.

Provenance: Sir George Cartland - 2009 Private Collection, Hobart.

Additional information: Verso on the backing, upper left ‘No 27. Coastal Bush / $50 / Elspeth Vaughan’.

Temple of Athenian Zeus Athens, c1969 stock no.148, watercolour 35.8 49.3 cm (sight) signed× lower right ‘ELSPETH VAUGHAN’

Provenance: Not known - 2004 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p146 (illust.).

Additional information: Verso is an incomplete watercolour landscape of a stream in undulating surroundings. Verso on the backing upper right is [printed, in black ink] ‘No6 TEMPLE OF ATHENIAN ZEUS. ATHENS / 70 dollars [the price had been blacked out] / [signa- ture] Elspeth Vaughan’, and on a small square white label [printed] ‘90’. The style, framing and original price are consistent with the work being painted during the artist’s 1969 visit to Europe.

Lindisfarne Northumberland, 1978 stock no.314, watercolour 39 54 cm (sight) signed× and dated lower left ‘ELSPETH VAUGHAN / 78’

Provenance: Not known - 2006 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p147 (illust.).

Additional information: Verso on the brown paper backing, upper left [in blue ballpoint] ‘ELSPETH VAUGHAN / [circled] ‘31 LINDISFARNE, NORTHUMBER- LAND’, lower cetnre is a framers stamp from A and G Willems. The painting is in a thin gold and brown frame, with a double white mount. It was painted during the artist’s visit to Europe in 1978-80.

36 Crofter’s Cottages Skye, 1979 stock no.91, watercolour 38.6 54.2 cm (sight) signed× and dated lower left ‘ELSPETH VAUGHAN / 79’

Provenance: Not known - 2004 Private collection, Hobart.

Additional information: Verso on the white card backing, upper left [in pencil, circled] ‘34’, [in blue ballpoint] ‘ELSPETH VAUGHAN / CROFTERS COTTAGES, SKYE’. The painting is in a thin gold and brown frame, with a double white mount and non-reflecting glass. It was painted during the artist’s visit to Europe in 1978-80.

Low Tide Baie de Kernic Brittany, 1979 stock no.769, watercolour 20 22.5 cm (sight) signed× lower lef ‘ELSPETH VAUGHAN / 79’

Provenance: Not known - 2010 Private Collection, Hobart.

Additional information: Verso on the backing, upper left ’14 ELSPETH VAUGHAN / LOW TIDE BAIE DE KERNIC, BRITTANY’. Lower centre is a Willems framer’s stamp. The work was painted during the artist’s visit to Europe in 1978-80.

Pink Granite and Sheoaks Shade at Trouser [sic] Point, 1990 stock no.264, watercolour 43 31.6 cm (sight) signed× and dated lower left ‘ELSPETH VAUGHAN 90’

Provenance: Not known - 2004 Bathurst Antiques - 2004 Private Collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p148 (illust.).

Additional information: Verso on the backing, artist’s label upper left ‘ELSPETH VAUGHAN / PINK GRANITE AND SHE-OAKS SHADE AT TROUSER POINT’.

Green Island over Happy Valley, 1992 stock no.448, watercolour 32 42.5 cm (sight) signed× and dated lower left ‘ELSPETH VAUGHAN / 92’

37 Provenance: Not known - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p149 (illust.).

Additional information: Verso on the backing, upper left, the artist’s label with title and size of the painting. Upper centre is a framers stamp from Nigel Houston Framing Studio. The painting is of a Flinders Island scene a few kilometers north of Trousers Point. The viewer looks west from the Strzelecki Peaks, out over pasture, a tree-rimmed dam, and the Strzelecki National Park, across Fotheringate Bay to Big Green Island. Be- yond lies East Kangaroo Island and, on the right hand horizon, Prime Seal Island.

Summer Flowers, 1997 stock no.149, watercolour 50.5 36 cm (sight) signed× and dated lower left ‘ELSPETH VAUGHAN / 97’

Provenance: Not known - 2004 Private collection, Hobart.

Additional information: Verso pasted on the brown paper backing lower centre was a torn white label with [in ballpoint] ‘97 SUMMER FLOWERS / $1??’. Under this label was another [illegible] label.

38 Chapter 7

List of Exhibitions by Angus, Buckie, Giles, or Vaughan, sometimes with a few others

The five regular Sunday painters for many years showed work with the Art Society of Tasmania [6] and The Tasmanian Group of Painters [8]. They also exhibited singly or as a group. Some exhibitions consisting solely, or mainly, of work by the five are listed chronologically below.

Year Co-exhibitors Gallery

1946 Angus Sedon, Melb. 1947 Angus Shillidays, Mildura and John Martin’s, Adelaide. 1950 Angus Book Club, Melb. 1955 Angus Adult Education 1956 Giles Nettlefolds 1957 Angus Giles Stephen Walker Nettlefolds

1958 Angus and Cox begin paint- ing together on Sundays

1959 Buckie Fitzgeralds

1959 Buckie joins Angus & Cox on their Sunday expeditions

1960 Angus Plus 4 others Fitzgeralds

1961 Giles joins the three regulars

1964 Angus J Eldershaw Artamon, NSW 1964 Giles Nettlefolds 1964 Giles G Woodberry Carrick 1965 Angus Giles G Woodberry Fitzgeralds 1965 Buckie Vaughan Lloyd Jones 1966 Angus Buckie Cox Giles Vaughan Plus 2 others Hamilton, Vic. 1967 Angus Buckie Cox Giles Vaughan Don Camillo 1967 Buckie Cox Plus ? others Little Gallery

39 Year Co-exhibitors Gallery

1968 Angus Saddlers Court 1968 Angus Saddlers Court 1968 Buckie Vaughan Saddlers Court 1968 Giles Saddlers Court, Dec 1969 Vaughan Saddlers Court 1969 Angus Giles Armfield Nettlefolds 1969 Giles Spinning Wheel, Dec

1961 Vaughan completes the nu- cleus of five ‘Sunday painters’

1970 Giles Art Centre, Dec 1970 Vaughan Salamanca Place 1971 Angus Buckie Giles Vaughan Barnes, Bolt Saddlers Court, Nov 1971 Angus Saddlers Court 1971 Giles Don Camillo, Dec 1972 Angus Giles J&P Boam Adelaide, SA. 1972 Angus Don Camillo 1972 Angus Don Camillo 1972 Vaughan Don Camillo 1973 Angus Saddlers Court 1973 Giles Saddlers Court 1973 Giles Saddlers Court 1973 Giles Hamilton, Vic. 1973 Vaughan Don Camillo 1974 Vaughan Saddlers Court 1974 Angus Don Camillo 1974 Giles Don Camillo, Dec 1975 Vaughan Newton, Adelaide

1976 Roy Cox dies

1976 Giles Don Camillo, Dec 1977 Vaughan Saddlers Court 1977 Vaughan Saddlers Court 1977 Angus Cauvin Coughton 1977 Angus Canberra, ACT 1977 Angus Giles Vaughan R Murphy Gallery One 1977 Giles Wallhead Coughton 1977 Giles Don Camillo, Dec 1977 Vaughan Saddlers Court 1978 Giles Cauvin Coughton 1978 Angus Don Camillo 1978 Cox Domain House 1978 Vaughan Coughton 1979 Angus UTAS Angus QVMAG Angus Burnie 1980 Vaughan Saddlers Court 1980 Vaughan Coughton 1981 Vaughan Don Camillo

40 Year Co-exhibitors Gallery

1981 Buckie TMAG retrospective 1981 Angus Coughton

1982 Harry Buckie dies

1983 Angus Salamanca Place 1983 Vaughan Coughton 1984 Vaughan Coughton 1984 Vaughan Greenhill, Adelaide 1985 Vaughan Coughton 1985 Vaughan Beaver, ACT 1985 Vaughan Richmond 1985 Angus Coughton 1986 Angus Salamanca Place 1986 Vaughan Salamanca Place

41

Chapter 8

Harry Buckie 1897–1982: A Catalogue Raisonn´e

8.1 Chronology

Harry Buckie was born in Melbourne, fought in the Great War, then trained as a draughtsman and worked in NSW and Queensland, until moving permanently to Tasmania in 1935.

1897 October 8: Harry Buckie born in Melbourne.

1914–18 Enlists in the A.I.F., lying about his age.Serves in Egypt and for three years on the Western Front as a sapper.

1919 Harry was billeted, or staying with relatives, in London helping with the repatriation of demobbed servicemen. Studied drawing and life-classes at the Kingston-on-Thames Technical College on Saturday mornings, painted on weekend excursions.

1920 Returned to Australia, then enrolled in evening engineering drawing classes at Swin- bourne Technical College and also in evening classes at the National Gallery School. He worked as a draughtsman during the day.

1922: Started working for a Newcastle engineering firm as engineering draughtsman.

1924 Harry and Myrtle Mary Hewitt married in Melbourne, then move to Sydney, Harry working as a draughtsman.

1928 Their daughter Joan was born, Myrtle dying in childbirth.

1929–33 In the Depression Harry managed to find a job as nightwatchman at the Australia War Museum. Joined Douglas Dundas’ weekend sketching club that included, amongst others, John Eldershaw,

43 1933 Worked for CSR at the Kalimia Sugar Mills in Queensland as a draughtsman.

1935 Began with the Hydro-Electric Comission in Hobart as a draughtsman.

1936 March 4–14: Exhibited with the Art Society of Tasmania; The Burdekin River, North Queensland (cat.3), The Derwent (cat.4), Reflections (cat.79), Demolishing (cat.6), On the Slips (cat.7), and Barges (cat.8).

1937–38 Probably holidayed on the East Coast in the Coles Bay area during the summer of 1937–38.

1937 April 7–17: Exhibited with the Art Society of Tasmania; The Grey Barge (cat.9) and The ‘White Pheasant’, Goulburn Street (cat.10).

1938 March 23–April 2: Exhibited with the Art Society of Tasmania at the TMAG; Mt Direction from Risdon (cat.13), Mt Dove from Coles Bay (cat.14), Coles Bay (cat.15), Grey Day (cat.16), The Crusher (cat.17), Slipyards, Sandy Bay (cat.18), and Domain Slips, ‘Alma Doepel’ (cat.19).

1939–42 On Council of Art Society of Tasmania.

1939 March 21–April 2: Exhibited with the Art Society of Tasmania at the TMAG; Sheds (cat.20), Elms (cat.22), Elms, Morning (cat.21), Repairs to ‘Huon Chief’ (cat.23), The Pine (cat.24), To Hobart (cat.25), Grey and Yellow (cat.26), and Fruit Packing Shed, New Norfolk (cat.27).

1940 April 16–28: Exhibited with the Art Society of Tasmania; A Quiet Street, New Town (cat. 28), All Saints (cat.29) and ASunnyMorning(cat.30). October 23–November 3: First exhibition of the newly formed Tasmanian Group of Painters [?, 1940 & 1956 catalogues] at the TMAG. Harry, a founding member, showed four works; Morning (cat.34), Slipyard (cat.35), The Red House (cat.36), and L.F.B.699 (cat.37).

1941 March 25–April 6: Exhibited with the Art Society of Tasmania at the TMAG; Sandstone (cat.38), and Near the Cascades (cat.39). October 22–November 2: Exhibited with the Tasmanian Group of Painters, TMAG; Fishing (cat.41), ‘Waverley’, Oatlands (cat.42) and Early Morning (cat.43),

1942 Harry maried Margaret Burrows, a kindergarten teacher. No exhibition held by the Art Society of Tasmania in 1942. October 21–31: Exhibited with the Tasmanian Group of Painters, TMAG; Mt Di- rection (Moonah) (cat.49), Bicheno (cat.50), White Sands (cat.52), and Rock Study

44 (cat.53)

1943 February 9–23: The first Launceston Exhibition by the Tasmanian Group of Painters, held at the Queen Victoria Museum and Art Gallery. Harry exhibited three paint- ings, Sawdust and Spire (cat.44), Mt Direction from Risdon (cat.13) and Road to the Farm (cat.45). May 5–16: Exhibited with the Art Society of Tasmania, TMAG; Old Stone, ‘Oke- hampton’ (cat,46), Backyard, ‘Okehampton’ (cat. 47), The Gate to ‘Okehampton’ (cat.48), and again Mt Direction from Risdon (cat.13). November 4–14: Showed two paintings with the Tasmanian Group of Painters at the TMAG, Old Quarry (cat.57) and Knocklofty (cat.58).

1944 April 18–30: Work shown with the Art Society of Tasmania, TMAG; Trees (cat.59), Near Austin’s Ferry (cat.61), Old Hobart (cat.60). November 1–12: Exhibited with the Tasmanian Group of Painters, TMAG; Gran- ite Hill and Button Grass (cat.62), Week-end Cottage (cat.63), St John’s, New Town (cat.64), and Landscape (cat.65).

1945 Exhibited with the Australian Watercolour Institute. May 2–11: Exhibited with the Art Society of Tasmania, TMAG; Waterfront (cat.??), Dodge’s Ferry Beach (cat.66), Tranquil Morning (cat.67), and The Bluff (cat.68). October 31–November 11: Exhibited with the Tasmanian Group of Painters, TMAG; Wartime Shipping (cat.71), The Old Willow (cat.242), Boats at Sandy Bay (cat.74), and Ships and Landscape (cat.75).

1946 Exhibited with the Australian Watercolour Institute. The two major Tasmanian art societies held their annual exhibitions simultaneously. The Tasmanian Group of Painters appeared to be supporting the Launceston society by sending twenty-one paintings north for their annual exhibition. Perhaps artistic rivalries were on the boil. March 21–April 4: Exhibited with the Launceston Art Society, QVMAG; Up for Repairs (cat.76). March 27–April 7: Exhibited with the Art Society of Tasmania, TMAG; Sunburnt Country (cat.77), Rocks (cat.78), Reflections (cat.79), Glimpse of Old Beach (cat.80), and The Mountain (cat.81). October 2–13: Exhibited with the Tasmanian Group of Painters, TMAG; Down Elphinstone Road (cat.82).

1947 April 16–27: Exhibited with the Art Society of Tasmania, TMAG; Gray’s Barn (cat.83) Midland Pastures (cat.84), ‘Okehampton’ Landscape (cat.85), ‘Okehampton’ Kitchen (cat.55), and ‘Okehampton’ House (cat.86). October 8–19: Exhibited with the Tasmanian Group of Painters, TMAG; River Scene (cat.72) and Fishing Boy (cat.88). December: He was one of four passengers in the first plane to land on Lake Pedder beach.

1948 Exhibited with the Australian Watercolour Institute. April 7–18: Exhibited with the Art Society of Tasmania, TMAG; Mountains of the South-West (cat.93), and Jordan River (cat.94).

45 1949 Exhibited with the Australian Watercolour Institute. March 30–April 10: Exhibited with the Art Society of Tasmania, TMAG; Victoria Dock, Hobart (cat.130), Canal Entrance, Dunalley (cat.96), Old Building, Campbell Town (cat.97), Near Wilmot Harbour (cat.98), The Leven, Ulverstone (cat.99) and Farm Waggon (cat.100). October 5–19: Exhibition of the Tasmanian Group of Painters, opened by the Gov- ernor of Tasmania at the TMAG; Near Wilmot Harbour (cat.98), A Tasmanian Valley (cat.101), Village under the Cliff (cat.102), Trees at Orford (cat.103), The Tall Gum (cat.104), and Old Barn (cat.105). November 12: An Exhibition by the Art Society of Tasmania, Lady Franklin Mu- seum; Mole Creek (cat.106) and Boats at Port Adelaide (cat.107).

1950 Exhibited in Tasmanian Art Civic Centre Canberra. April 19–30: Exhibited with the Art Society of Tasmania, TMAG; Ships in Port (cat.114), Dock Scene (cat.115), Old Buildings, Hamilton (cat.116), Gums in Sunlight (cat.117), A Hot Day (cat.118), Grey Day in the Bush (cat.121), and Afternoon Light (cat.122).

1951 Exhibited with the Australian Watercolour Institute. April 11–25: Exhibited with the Art Society of Tasmania, TMAG; Low Tide (cat.123), A Glimpse of Mt. Owen (cat.124), Cradle Mountain (cat.125), tall Trees, near Sheffield (cat.126), and Old Cottage, near Oatlands (cat.127).

1952 April 23–May 5:ShowedBurnt Trees (cat.128), Rain over Maria Island (cat.129), Victoria Street (cat.130) and Mountain Tops from Lake Tahune (cat.131) with the Art Society of Tasmania at the TMAG. October 15–26:ShowedMountain Tops from Lake Tahune (cat.131), Schouten Island (cat.132), The Acropolis (cat.133), The Dry Paddock, Swansea (cat.70), Red- banks, Swansea (cat.134), and Fishermens’ Shacks, Bicheno (cat.135) with the Tas- manian group of Painters at the TMAG.

1953 April 16–28:Showed‘Woolnorth’ Pastures (cat.136), The Wreck of the ‘Colliboi’ (cat.137), Hopfields, Derwent Valley (cat.138), Quiet Moorings (cat.139), Swansea Landscape (cat.140) and Aboriginal Carvings, Tasmania (cat.142) with the Art Soci- ety of Tasmania at the TMAG. 1953 October15–26:ShowedRiver Bank, Swansea (cat.144), and The Barge ‘En- terprise’ (cat.145) with the Tasmanian group of Painters at the TMAG.

1954 January: Painted in Lake Pedder area, in company of Ralph Hope-Johnstone [?]. March 24–April 6: Exhibited with the Art Society of Tasmania at the TMAG; Coronation Peak, Frankland Range (cat.147), A Glimpse of Lake Pedder (cat.148), Lake Pedder Beach (cat.149), Mt Wedge (cat.150), Rain Passing from the Franklands (cat.151), and Cloud over Mt Anne (cat.152). May: Tasmanian Sesquicentenary Art Competition TMAG Hobart, showed Lake Pedder) (cat.154), and Isolated Mountain and Mt. Anne) (cat.171). October 20–31: Exhibited with the Tasmanian Group of Painters, TMAG; Lake Pedder (cat.154), Merideth River (cat. 155) and Peter and Paul, Oyster Bay (cat.157) and Portrait of a Dinghy (cat.158).

46 1955 March 23–April 3: Exhibited with the Art Society of Tasmania; Grey Morning, East Coast (cat.159), Quartzite Rocks, Lake Pedder (cat.160), Sea Piece (cat.161) and Green Field (cat.162). October 19–30: Exhibited with the Tasmanian Group of Painters, TMAG; Low Tide, Swansea (cat.163), Dead Tree Patterns (cat. 164), Lake Pedder Beach, Late Afternoon (cat.146), and Barn at ‘Coswell’ (cat.167).

1956 May 2–13: Exhibited with the Art Society of Tasmania at the TMAG, the works being Mt Solitary from Lake Pedder camp (cat.169), Grey and Green, Meredith River (cat.172), Bush (cat.173), and Ship in Port (cat.174). October 17–28: Across the Derwent (cat.181), Mt Dromedary (cat.182), and Rocks at Swansea (cat.176) were shown at the Annual Exhibition of the Tasmanian Group of Painters at the TMAG. The catalogue included a thumbnail sketch of each member’s biography and Harry’s, probably written by Harry (the Hon. Sec) himself, read, Born, Melbourne, trained at Regent Street Polytech, London for 12 months, now a Draughtsman in the Civil Branch of the H.E.C. December 13–16:ExhibitedwiththeOpen-Air Art Festival Adult Education Board, the works being Across the River (cat.181), A Grey Day (cat.16), and Rocks at Swansea (cat.176).

1957 Exhibited with the 1st Tasmanian Art Gallery Exhibition TMAG Hobart. October 31–November 10: Exhibited with the Tasmanian Group of Painters, TMAG; Lake Pedder, West (cat.183), Lake Pedder, East (cat.184), and Lake King William (cat.185).

1958 Exhibited with the 2nd Tasmanian Art Gallery Exhibition TMAG Hobart; showed A Quiet Morning (cat.195). May 7–18: Work with the 74th Annual exhibition of the Art Society of Tasmania TMAG; The Red track, Swansea (cat.186), Tramps on the Yarra 1 (cat.188), and Tramps on the Yarra 2 (cat.189), and Boat Harbour, Wynyard (cat.191). 1958: Showed five paintings at an Exhibition of Water Colours Fitzgeralds Audi- torium Collins Street Hobart; Red Tramp on the Yarra (cat.190), Trees by the Sea (cat.192), The Black Rock, Swansea (cat.177), Two Gates (cat.193),and Gum Tree and Barn (cat.194). 1958 winter: Travelled to Central Australia with Ralph Hope-Johnstone. Painted many landscapes there. 1958 late: Invited to paint with Roy Cox and Max Angus, forming the nucleus of the ‘Sunday Painters’.

1959 March 25–April 26: 3rd Tasmanian Art Gallery Exhibition TMAG Hobart; showed Finke River Gum (cat.201). 1959: Solo Exhibition of Watercolours, Central Australia Fitzgerald’s Auditorium, Collins Street Hobart. Inc. Ceremonial Rock and Palm Paddock (cat.198), and Simp- son’s Gap (cat.203). April 22–May 3: Exhibited with the Art Society of Tasmania; Red Bank and Desert Oak, Palmer River (cat.204), Gidgee Tree, Central Australia (cat.199), Finke River Bed, Central Australia (cat.200), and Mt Undoolya, Central Australia (cat.202). 1959 August 5–16: With the Tasmanian Group of Painters; The Little Ghost

47 Gum, Central Australia (cat.206), Boats at Wynyard (cat.210), Low Tide at Stanley (cat.211), and At Bicheno (cat.212). 1959: Exhibition of Tasmanian Paintings Adult Education Board, Harry showed Storm approaching Pittwater (cat.214), Mt. Direction (cat.49), and Landscape after Rain (cat.209).

1960 Exhibited with the 4th Tasmanian Art Gallery Exhibition TMAG Hobart; showed Landscape (cat.220). 1960: An Exhibition of Watercolours Fitzgerald’s Auditorium Collins Street Hobart; showed six works Mt Direction from the Domain (cat.196), Landscape (cat.220), Gun- ner’s Quoin (cat.221), Two Trees, Northern Territory (cat.222), East Coast (cat.328), and At Rokeby (cat.223). May 4–15: Exhibited with the Art Society of Tasmania, TMAG; showing Silver Light (cat.207), Pittwater (cat.213), Storm approaching Pittwater (cat.214), and Ero- sion and Trees (cat.215). August 30–September 11: Exhibited with the Tasmanian Group of Painters; showing Mulga Scrub, Northern territory (cat.205), Passing Cloud (cat.216), Grey Skies (cat.218), and Lonely Dinghy (cat.219). 1960: Exhibited with the Adult Education Board.

1961 Exhibited with the 5th Tasmanian Art Gallery Exhibition TMAG Hobart. May 3–14: Exhibited with the Art Society of Tasmania, TMAG; showing Silver Light (cat.207), Pittwater (cat.213), and The Yellow Door (cat.224). August 30–September 10: Exhibited with the Tasmanian Group of Painters; Silver Light (cat.207), Landscape (cat.226), Creek (cat.227), and River Reflections (cat.228). 1961: Exhibited with the Adult Education Board.

1962 Exhibited with the 6th Tasmanian Art Gallery Exhibition TMAG Hobart. May 2–12: Exhibited with the Art Society of Tasmania,TMAG; Promise of Rain (cat.229), Early Morning Tamar River (cat.230), and Mt Direction (cat.49). November 26–30:ExhibitedinTasmanian Watercolours Today Adult Education Board Launceston; Creek in Flood (cat.231), Winter Calm (cat.240), Willow (cat.242), River Bank (cat.144), Near Low Head (cat.243), Ring Barked Tree (cat.244), She Oak by the Shore (cat.245), and Landscape near Deloraine (cat.256)). 1962: Retired after twenty-seven years with the Hydro-Electric Comission.

1963 May 1–12:ExhibitedWhite Sands at Seaford (cat.234), The Sand Dune (cat.235), and Autumn at New Norfolk (cat.236) with the Art Society of Tasmania at the TMAG. 1963: Exhibited with the Adult Education Board.

1964 April 29–May 10: Exhibited with the Art Society of Tasmania; Gums on the Do- main (cat.238), Calm Evening (cat.239), Dry Country (cat.246), and After the Rain (cat.247). 1964: Exhibited with the Adult Education Board.

1965–73 Taught landscape drawing and painting with the Adult Education Board.

1965

48 April 28–May 9:ShowedLake Nicholls, National Park (cat.249), Derelict (cat.251), The Arve River (cat.252), and Seascape, Bruni (cat.253) at the Art Society of Tas- mania Exhibition, TMAG. 1965: Joint exhibition with Elspeth Vaughan, Lloyd Jones Gallery Hobart.

1966 Had painting(s) hung in the ESU Art Prize exhibition, Hobart, Launceston, & De- vonport. 1966:ExhibitedwithTasmanian Artists City of Hamilton Art Gallery. 1966:ExhibitedwithFive Hobart Painters Don Camillo Restaurant Hobart, showing East Coast, near Binnalong Bay (cat.278). May 3–15: Exhibited with the Art Society of Tasmania, TMAG; showed Old Tree, Old House (cat.275) and Low Tide at Cambridge (cat.277).

1967 Hung in the ESU Art Prize exhibition, Hobart, Launceston, & Devonport. May 2–14: Exhibited two paintings with the Art Society of Tasmania at the TMAG; Near Conningham (cat.279) and Ralphs Bay (cat.280).

1968 1968 early: Travelled to Nepal, Cambodia, Thailand, and Malaysia with his daugh- ter Joan. 1968: Exhibited at Saddler’s Court Gallery Richmond, possibly a joint exhibition with Elspeth Vaughan; Nepali or Kathmandu House (cat.289) and Temple Ruins, Thailand (cat.294). May 28–June 10: Exhibited with the Art Society of Tasmania at the TMAG; Off Shore at Malacca (cat.301).

1969 April 15–27: Exhibited with the Art Society of Tasmania, TMAG, showing Sketch for ‘Mt Machhapuchlare’, Nepal (cat.285), and Near Lunawanna, Bruni (cat.307). October 3: Art Auction of ABC Social Club, submitted Tarana (cat.308).

1970 Exhibited with the 47th Annual Exhibition of the Australian Watercolour Institute. April 28–May 17:ExhibitedRoad near Valleyfield (cat.309) and East Coast on a Grey Day (cat.310) with the Art Society of Tasmania at the TMAG. c1970: Exhibited two works, Sea Piece (cat.161) and From the Mountain (cat.339), with the Australia Junior Chamber of Commerce Community Art Exhibition Hobart. 1970:ExhibitedwithWatercolours by Tasmanian Artists at the Salamanca Place Gallery Hobart.

1971 1971: Lake Pedder 1971 Exhibition TMAG & Saddlers’ Court Gallery Richmond; Rock Formation Western Shore (cat.317), The Bonnet I (cat.319), The Frankland Range (cat.325), The Bonnet II (cat.320), Cloud over the Franklands (cat.321), East- ern End Frankland Range (cat.323), The Beach and Coronets (cat.324) and Cloud lifting offthe Franklands (cat.322). March 6:ExhibitedwithFive Hobart Painters Don Camillo Resaurant Sandy Bay; showed Cape Bernier (cat.311), Towards Maria Island (cat.315), Eaglehawk Neck (cat.312), Trees in Sandown Park (cat.313), and A House at Bothwell (cat.314).

1972 Art Society of Tasmania annual exhibition, showed East Coast (cat.328).

49 1972:ExhibitedwithWatercolours by Tasmanian Artists at the Salamanca Place Gallery Hobart. 1972 December:ExhibitedThe Coronets and Mt. Wedge (cat.326) in The Tasma- nian Landscape.

1973: Art Society of Tasmania annual exhibition, showed Mt Strezlecki, Flinders Island (cat.329). 1973 September 14–28: 50th Annual Exhibition Australian Watercolour Institute, showed Strezlecki Park, Flinders Island (cat.330). 1973: Awarded life-membership of the Art Society of Tasmania. Exhibited with Blue Gum Festival Hobart.

1974 Elected a member of the Australian Watercolour Institute, and exhibited with the 51st Annual Exhibition. 1974: Art Society of Tasmania annual exhibition, showed Near Marion Bay (cat.331).

1975 April 8–23: Exhibited with the Art Society of Tasmania annual exhibition; Prosser Bay (cat.332).

1976 May–June: Art Society of Tasmania annual exhibition; Harmony in Grey (cat.270).

1977 June 7–19: Art Society of Tasmania annual exhibition; Racing Clouds (cat.333) and Study in Grey (cat.334).

1978 Exhibited with 50 Years of Watercolour Painting in Tasmania 1928–78 University of Tasmania Hobart.

1979 February 20–28: Exhibited with the Art Society of Tasmania at the annual exhi- bition; showed Grey Landscape (cat.336). October 25–November 18: Exhibited with the Art Society of Tasmania for the last time at the Spring Exhibition; Gateway to Angkor Wat (cat.293).

1980 February 19–27: AST Annual Exhibition, showed The Penang River, Malaysia (cat.302). April and May: Showed three watercolours at the Water Colours by Tasmanian Painters Richmond & Hobart, namely River Mouth East Coast (cat.340), In Rich- mond (cat.341) and Pittwater Cambridge Tasmania (cat.213).

1981 September 8–27: The retrospective exhibition, Harry Buckie Watercolours TMAG Hobart.

1982 April 17: Harry Buckie died.

50 8.2 Catalogue Raisonn´e

Unless otherwise stated each work in the catalogue is watercolour on paper.

1. THE BRIDGE AT KINGSTON-ON-THAMES 1919 14.5 10.5cm signed× with initials lower right inscribed ‘Kingston Bridge’ lower left

This was painted during the year the artist spent in London before de-mobilisation from the AIF. He enrolled in weekend drawing and life classes at the Kingston -upon-Thames Technical College and spent as much time as possible painting during the weekends. Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 1 (as The Bridge at Kingston-on-Thames, dated as 1919, collection Mrs Turner). Provenance: Mrs Turner - Not known.

2. SHIP MOORED IN AN INLET, SYDNEY 1924–33 signed lower right ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram

A landscape probably painted during Buckie’s time in Sydney when he painted with Douglas Dundas and his sketching group, which included John Eldershaw who was domiciled in Tasmania at the time. The painting is only known from a photograph in the possession of a member of the artist’s family [10]. Provenance: Not known.

3. THE BURDEKIN RIVER, NORTH QUEENSLAND 1933–35

A landscape painted during Buckie’s period as a draughtsman at the Kalamia Sugar Mills at Ayr near the Burdekin in North Queensland, before his move to Tasmania as a draughtsman with the Hydro-Electric Commission. Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 99 (as The Burdekin River, North Queensland), 7 gns. Provenance: Not known.

4. THE DERWENT 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 100 (as The Derwent), 5 gns. Provenance: Not known.

5. REFLECTIONS 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 101 (as Reflections), 7 gns. Provenance: Not known.

51 6. DEMOLISHING 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 102 (as Demolishing), 4 gns. Provenance: Not known.

7. ON THE SLIPS 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 103 (as On the Slips), 3 gns. Provenance: Not known.

8. BARGES 1935–36

20.6 19.6 cm (sight) signed× lower right ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram

A view of two coastal ‘barges’ in Victoria Dock, with King’s Pier and the Eastern shore hills in the background. All small wooden coastal freight-carrying sailing boats were called ‘barges’. The blue-painted ketch is possibly the Gazelle [5]. She plied between Nubeena and Hobart for many years, was licenced to carry six passengers, and was the only barge with a toilet. A sailor rows one dinghy across the dock and another dinghy is tied to the white ‘barge’. The elegance and economy of the realisation of this latter dinghy are worthy of note. Overall, the palette is softer and paler than in Buckie’s later works, perhaps reflecting his recent transition to temperate Tasmania from the glare of the Queensland sun. Barges is one of the first five works he painted in Tasmania following his arrival from Queensland in 1935 to take up his position as a draughtsman with the Hydro Electric Commission. This watercolour was painted over the summer, ready for the March exhibition of the Art Society. It was shown, together with a Queensland landscape and four other Tasmanian scenes by Buckie. Verso is the original label ‘Barges’. Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 104 (as Barges), 2 gns. Provenance: Not known - 2006 Private collection, Hobart.

9. THE GREY BARGE 1936–37

Exhibitions: 7th–17th April 1937 AST 53rd Annual Exhibition Hobart, No 87 (as The Grey Barge), 6 gns. Provenance: Not known.

10. THE ‘WHITE PHEASANT’ GOULBOURN STREET 1936–37

52 21.8 25.7 cm (sight) signed× lower left ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram in original framing, mount and inscribed backing

A view of a house, previously the White Pheasant Hotel, at 22 Upper Goulbourn Street (before being re-numbered when Upper Goulburn Street was absorbed into Goulbourn Street). The licence of the hotel appears to have been given up in 1917 [22]. The site is currently the basketball court of Goulburn Street School. An Englishman, transported for shooting a ‘white pheasant’, opened the inn on his release after seven years incarceration. At the time there were nine other public houses in the street. Two people are chatting by the gateway. The sunlight, shadows and well-chosen palette give good depth to the work. The ‘White Pheasant’ is one of the first works Buckie painted in Tasmania, from a period when he painted exclusively in inner Hobart, after arriving from Queensland in 1935 to take up his position as a draughtsman with the Hydro Electric Commission. This watercolour, and one other, were shown in the March 1937 exhibition of the Art Society, and painted sometime in the preceding twelve months. Verso, pasted on original brown paper covering the backing is a typed label from the 1981 Tasmanian Art Gallery and Museum Retrospective Exhibition, ‘2 ‘THE WHITE PHEASANT’ GOULBOURN STREET, HOBART c1935’. Also [printed, in ink] ‘No 2 / The “White Pheasant” Goulbourn St.’ and [cursive, in older ink] ‘Donated by Mr. H. Buckie / Hydro dept / reserve £12-12- / auctioned 1 3 ’. The inscription following the word ‘reserve’ has been over- written and∗ underlined∗ in pencil. The over-writing of ‘1 3 ’, at least, was done at some time after the paper developed aging cracks,∗ and∗ it is unclear if other characters lie under. The work may have remained un-sold in 1937 and 1941 and later been donated by the artist for some charitable auction during the War years. Exhibitions: 7th–17th April 1937 AST 53rd Annual Exhibition Hobart, No 88 (as The ‘White Pheasant’, Goulbourn Street), 7 gns. Possibly 25th March –6th April 1941 AST 57th Annual Exhibition Hobart, No 67 (as The White Pheasant), 4 gns. 8–27 September 1981 Harry Buckie Watercolours, TMAG Hobart, No 2 (as The ‘White Pheasant’ Goulbourn Street, inscribed with title on backing board, collection Mr J.Rayner, dated as c1935). Provenance: Not known - Mr J Rayner - Not known - 2006 Private collection, Hobart.

11. THE OLD MILL, GORE STREET, HOBART c1937 see catalogue number 12 on page 54 24 30.5cm signed× lower left

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 3 (as The Old Mill, Gore Street, Hobart, dated as c1937, collection Mr R Wadsley). Provenance: Not known - Mr Wadsley - Not known.

53 12. OLD MILL, GORE STREET see catalogue number 11 on page 53 blue pencil and watercolour 22.8 21.4cm signed× lower left

Exhibitions: 23rd–30th September 1984 Art Acquisitions 1979–84 TMAG, Hobart, No 99 (as Old Mill, Gore Street). Provenance: 1984 TMAG, presented by Joan Buckie.

13. MOUNT DIRECTION FROM RISDON 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 26 (as Mount Direction from Risdon), 4 gns. Possibly 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 13 (as Mt. Direction), 6 gns. Possibly 2nd–12th May 1962 78th Annual Exhibition Hobart, No 10 (as Mt Direction), 18 gns. References: Provenance: Not known.

14. Mt DOVE, FROM COLES BAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 27 (as Mount Dove, from Coles Bay), NFS. Provenance: Not known.

15. COLE’S BAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 28 (as Cole’s Bay), 5 gns. Provenance: Not known.

16. GREY DAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 29 (as Grey Day), 3 gns. Possibly 13th–16th December 1956 Open Air Art Festival Adult Education Board Hobart, No 209 (as A Grey day), 8 gns. Possibly 1972 AST 88th Annual Exhibition, No 11 (as Grey Day), $62 Provenance: Not known.

17. THE CRUSHER 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 30 (as The Crusher), 4 gns.

54 Provenance: Not known.

18. SLIPYARDS, SANDY BAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 31 (as Slip Yards, Sandy Bay), 4 gns. Provenance: Not known.

19. DOMAIN SLIPS, ‘ALMA DOEPEL’ 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart, No 32 (as Domain slips - ‘Alma Doepel’), 5 gns. Provenance: Not known.

20. SHEDS 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 57 (as Sheds), 5 gns. Provenance: Not known.

21. ELMS, MORNING 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 58 (as Elms, Morning), 5 gns. Provenance: Not known.

22. ELMS 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 59 (as Elms), 5 gns. Provenance: Not known.

23. REPAIRS TO ‘HUON CHIEF’ 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 60 (as Repairs to ‘Huon Chief’), 4 gns. Provenance: Not known.

24. THE PINE 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 61 (as The Pine), 4 gns. Provenance: Not known.

55 25. TO HOBART 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 62 (as To Hobart), 5 gns. Provenance: Not known.

26. GREY AND YELLOW 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 63 (as Grey and Yellow), 4 gns. Provenance: Not known.

27. FRUIT PACKING SHED, NEW NORFOLK 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart, No 64 (as Fruit Packing Shed, New Norfolk), 4 gns. Provenance: Not known.

28. A QUIET STREET, NEW TOWN 1939–40

Exhibitions: 16th–28th April 1940 AST 56th Annual Exhibition Hobart, No 40 (as A Quiet Street, New Town), 6 gns. Provenance: Not known.

29. ALL SAINTS 1939–40

Exhibitions: 16th–28th April 1940 AST 56th Annual Exhibition Hobart, No 41 (as All Saints), 6 gns. Provenance: Not known.

30. A SUNNY MORNING 1939–40

Exhibitions: 16th–28th April 1940 AST 56th Annual Exhibition Hobart, No 42 (as ASunnyMorning), 3 gns. Provenance: Not known.

31. HOUSES IN MACQUARIE STREET c1940 26.5 31 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 4 (as Houses in Macquarie Street, dated as c1940, collection Mrs D Hamilton,( illust.)). Provenance: Not known - Mrs Hamilton - Not known.

56 32. WOMENS’ PENITENTIARY, CASCADES 1940 29 33.5cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 5 (as Womens’ Penitentiary, Cascades, dated as 1940, collection Mr & Mrs L Roberts). Provenance: Not known - Mr & Mrs Roberts - Not known.

33. FROM REDCHAPEL BEACH 1940 24.5 32 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 6 (as From Redchapel Beach, dated as 1940, collection Mrs K S Scott). Provenance: Not known - Mrs K S Scott - Not known.

34. MORNING c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual Exhibition TMAG Hobart, No 10 (as Morning), 8 gns. Provenance: Not known.

35. SLIPYARD c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual Exhibition TMAG Hobart, No 11 (as Slipyard), 7 gns. Provenance: Not known.

36. THE RED HOUSE c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual Exhibition TMAG Hobart, No 12 (as The Red House), 4 gns. Provenance: Not known.

37. L.F.B. 699 c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual Exhibition TMAG Hobart, No 13 (as ‘L.F.B. 699’), 5 gns. Provenance: Not known.

38. SANDSTONE 1940–41

Exhibitions: 25th March–6th April 1941 AST 57th Annual Exhibition Hobart, No 66 (as Sandstone), NFS.

57 Provenance: Not known.

39. NEAR THE CASCADES 1940–41

Exhibitions: 25th March–6th April 1941 AST 57th Annual Exhibition Hobart, No 68 (as Near the Cascades), NFS. Provenance: Not known.

40. AN IDLE HOUR 1941 23.8 24.5cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 7 (as An Idle Hour, dated as 1941, inscribed with title on backing board, collection Mrs M Buckie). Provenance: Not known- Mrs Buckie - Not known.

41. FISHING c1941

Exhibitions: 22nd October–2nd November 1941 TGP 2nd Annual Exhibition TMAG Hobart, No 14 (as Fishing), NFS. Provenance: Not known.

42. ‘WAVERLEY’, OATLANDS c1941

Exhibitions: 22nd October–2nd November 1941 TGP 2nd Annual Exhibition TMAG Hobart, No 15 (as ‘Waverley’, Oatlands), 6 gns. Provenance: Not known.

43. EARLY MORNING c1941

Exhibitions: 22nd October–2nd November 1941 TGP 2nd Annual Exhibition TMAG Hobart, No 16 (as Early Morning), NFS. Provenance: Not known.

44. SAWDUST AND SPIRE c1942

Exhibitions: 9th—23rd February 1943 TGP 1st Launceston Exhibition QV- MAG Launceston, No 13 (as Sawdust and Spire), 6 gns. Provenance: Not known.

45. ROAD TO THE FARM c1942

Exhibitions: 9th—23rd February 1943 TGP 1st Launceston Exhibition QV- MAG Launceston, No 15 (as Road to the Farm), 5 gns. Provenance: Not known.

58 46. OLD STONE, ‘OKEHAMPTON’ 1941–43

Exhibitions: 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 14 (as Old Stone, Okehampton), 6 gns. 8th–19th October 1947 TGP 8th Annual Exhibition TMAG Hobart, No 17 (as Old Stone), 6 gns. Provenance: Not known.

47. BACKYARD, ‘OKEHAMPTON’ 1941–43

Exhibitions: 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 15 (as Backyard, Okehampton), 6 gns. Provenance: Not known.

48. THE GATE TO ‘OKEHAMPTON’ 1941–43

Exhibitions: 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 16 (as The Gate to Okehampton), 3 gns. Provenance: Not known.

49. Mt. DIRECTION 1942–43

Exhibitions: 9th—23rd February 1943 TGP 1st Launceston Exhibition QV- MAG Launceston, No 14 (as Mt Direction), 5 gns. 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No13 (as Mt. Direc- tion), 6 gns. 1959 Paintings by Tasmanian Artists Adult Education Board, No 8 (as Mt. Direction), 14 gns. 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 11 (as Mt. Direction), 17 gns. 2nd–12th May 1962 AST 78th Annual Exhibition Hobart, No 10 (as Mt Direc- tion), 18 gns. Provenance: Not known.

50. BICHENO 1942 25.7 34 cm signed× lower right

Painted on the artist’s honeymoon. Exhibitions: 21st—31st October 1942 TGP 3rd Annual Exhibition TMAG Hobart, No 34 (as Bicheno), NFS. 2nd–13th October 1946 TGP 7th Annual Exhibition TMAG Hobart, No 19 (as Bicheno), NFS. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 9 (as Bicheno, dated as 1942, inscribed with title on backing board, collection Mrs MBuckie,(illust.)).

59 Provenance: Mrs M Buckie - by descent.

51. THE CHANNEL, BICHENO 1942 26.1 33.7cm unsigned×

Painted on the artist’s honeymoon. Exhibitions: 2nd–13th October 1946 TGP 7th Annual Exhibition TMAG Hobart, No 20 (as The Channel), NFS. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 8 (as The Channel (Bicheno), dated as 1942, inscribed with title on backing board, collection Mrs M Buckie). Provenance: Mrs M Buckie - by descent.

52. WHITE SANDS c1942

Exhibitions: 21st—31st October 1942 TGP 3rd Annual Exhibition TMAG Hobart, No 35 (as White Sands), NFS. Provenance: Not known.

53. ROCK STUDY c1942

Exhibitions: 21st—31st October 1942 TGP 3rd Annual Exhibition TMAG Hobart, No 36 (as Rock Study), NFS. 31st October–10th November 1957 TGP 18th Annual Exhibition TMAG Ho- bart, No 16 (as Rock Study, East Coast), 10 gns. Provenance: Not known.

54. [THE BARN] 1942–45 26.1 36 cm (sight) signed× lower right ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram

The barn pictured is in the Tasmanian Midlands, but not at the Agnews’ prop- erty ’Waverley’ where the Buckies’ were regular visitors [11]. It may possibly have been at ’Okehampton’ on Tasmania’s East Coast. The Buckies visited ‘Okehampton’ often in the 1940s, following Harry’s second marriage, and he showed many watercolours painted at the property [6] during the period 1942- 45. Unfortunately, most of the wooden buildings on the property vanished in the 1967 bushfires. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a mono- gram; from 1945 he signed ‘H BUCKIE’ with the ‘H’ and ‘B’ separated, or as ‘H.BUCKIE’ until at least March 1948 and then as ‘Harry Buckie’. Thus the work is from a time no later than 1945. The painting was sold at Gowan’s Auctions in 2005 at about the time that the Agnews’ estate was being settled. In a moment of high drama another Buckie farm scene The Stables at Waverley, painted circa 1945-53, was discovered and rescued from its place hidden between the support and backing of The Barn as the latter was offered at the auction.

60 Provenance: Not known - 5th August 2005 Ian Cornelius, Hobart - 9th September 2006 Martin McBain, Launceston - 2008 Private collection, Hobart.

55. ‘OKEHAMPTON’ KITCHEN 1943 24.7 32.7cm signed× lower right ‘H.BUCKIE’

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No 12 (as ‘Okehampton’ Kitchen), 6 gns. Possibly 1978 Fifty Years of Watercolour Painting in Tasmania 1928–1978 Uni- versity of Tasmania, No 8 (as Interior). 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 10 (as Kitchen at Oakhampton [sic], dated as 1943, collection Mrs M Buckie). Provenance: Mrs Buckie - by descent.

56. INTERIOR 1943 see catalogue number 55 on page 61

Exhibitions: 1978 Fifty Years of Watercolour Painting in Tasmania 1928– 1978 University of Tasmania, No 8 (as Interior, 1943, 25 33 cm, lent by the artist). ×

57. OLD QUARRY c1943

Exhibitions: 4th—14th November 1943 TGP 4th Annual Exhibition TMAG Hobart, No 24 (as Old Quarry), NFS. Provenance: Not known.

58. KNOCKLOFTY c1943

Exhibitions: 4th—14th November 1943 TGP 4th Annual Exhibition TMAG Hobart, No 25 (as Knocklofty), 7 gns. Provenance: Not known.

59. TREES 1943–44

Exhibitions: 18th–30th April 1944 AST 59th Annual Exhibition Hobart, No 14 (as Trees), 6 gns. Provenance: Not known.

60. OLD HOBART 1943–44 see also catalogue number 108 on page 70

This is not the work shown under the title Old Hobart in 1981 at the TMAG retrospective Harry Buckie Watercolours exhibition. Exhibitions: 18th–30th April 1944 AST 59th Annual Exhibition Hobart, No 15 (as Old Hobart), 6 gns.

61 14th–25th October 1953 TGP 14th Annual Exhibition TMAG Hobart, No 4 (as Old Hobart), 8 gns. Provenance: Not known.

61. NEAR AUSTIN’S FERRY 1943–44

Exhibitions: 18th–30th April 1944 AST 60th Annual Exhibition Hobart, No 16 (as Near Austin’s Ferry), 6 gns. Provenance: Not known.

62. GRANITE HILL AND BUTTON GRASS c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAG Hobart, No 32 (as Granite Hill and Button Grass), 7 gns. Provenance: Not known.

63. WEEK-END COTTAGE c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAG Hobart, No 33 (as Week-end Cottage), 5 gns. Provenance: Not known.

64. St JOHN’S, NEW TOWN c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAG Hobart, No 34 (as St John’s, New Town), 5 gns. Provenance: Not known.

65. LANDSCAPE c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAG Hobart, No 35 (as Landscape), 6 gns. Provenance: Not known.

66. DODGE’S FERRY BEACH 1944–45

Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 10 (as Dodge’s Ferry Beach), 6 gns. Provenance: Not known.

67. TRANQUIL MORNING 1944–45 32 42 cm signed× lower right

Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 11 (as Tranquil Morning), 9 gns.

62 18th–29th October 1950 TGP 11th Annual Exhibition TMAG Hobart, No 13 (as Tranquil Morning), 9 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 12 (as Tranquil Morning, dated as c1945, inscribed with title on backing board, collection Mrs M Peterson). Provenance: Not known - Mrs Peterson - Not known.

68. THE BLUFF 1944–45

Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 12 (as The Bluff), 7 gns. Provenance: Not known.

69. WATERFRONT 1944–45 33.5 45 cm signed× ‘HBUCKIE’ [‘H’ and ‘B” in monogram] lower right

This was purchased by the TMAG Trustees on 11th May 1945, at the conclusion of the AST exhibition. The gallery catalogued it under the title Waterfront, Hobart. Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 9 (as Water Front), 9 gns. 1978 Fifty Years of Watercolour Painting in Tasmania 1928–1978 University of Tasmania, No 5 (as Waterfront, 45.2 59 cm, (illust.)). × 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 13 (as Waterfront, Hobart, dated as 1945, inscribed with title on backing board, (illust.)). Provenance: Collection TMAG, acquired 1945.

70. THE DRY PADDOCK, SWANSEA possibly c1945 25.3 34.8cm signed× lower left ‘H.BUCKIE’

Inscribed verso on backing ‘”THE DRY PADDOCK”, SWANSEA. / NOT FOR SALE. / HARRY BUCKIE’ together with label from 1981 retrospective exhi- bition. Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart, No 12 (as Dry Paddocks), 8 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 11 (as ‘The Dry Paddock’, Swansea, dated as c1945, inscribed with title on backing board, (illust.), collection Mrs M Buckie). Provenance: Mrs Buckie - Not known.

71. WARTIME SHIPPING c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual Exhibition TMAG Hobart, No 22 (as Wartime Shipping), 9 gns.

63 Provenance: Not known.

72. RIVER SCENE c1945

Exhibitions: 21st July–10th August 1945 Australian Watercolour Institute 22nd annual exhibition, Sydney, No 171 (as River Scene,7 gns. 8th–19th October 1947 TGP 8th Annual Exhibition TMAG Hobart, No 16 (as River Scene), 8 gns. Provenance: Not known.

73. THE OLD WILLOW c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual Exhibition TMAG Hobart, No 23 (as The Old Willow), 7 gns. 8th–19th October 1947 TGP 8th Annual Exhibition TMAG Hobart, No 15 (as Old Willow), 9 gns. Provenance: Not known.

74. BOATS AT SANDY BAY c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual Exhibition TMAG Hobart, No 24 (as Boats at Sandy Bay), 6 gns. Provenance: Not known.

75. SHIPS AND LANDSCAPE c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual Exhibition TMAG Hobart, No 25 (as Ships and Landscape), 8 gns. Provenance: Not known.

76. UP FOR REPAIRS 1945-46

Exhibitions: 21st March—4th April Launceston Art Society 1946 Exhibition QVMAG Launceston, No 263b (in the collection of paintings by theTGP, as Up for Repairs), 5 gns. Provenance: Not known.

77. SUNBURNT COUNTRY 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart, No 5 (as Sunburnt Country), 8 gns. Provenance: Not known.

64 78. ROCKS 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart, No 6 (as Rocks), 7 gns. Provenance: Not known.

79. REFLECTIONS 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart, No 7 (as Reflections), 7 gns. Provenance: Not known.

80. GLIMPSE OF OLD BEACH 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart, No 8 (as Glimpse of Old Beach), 7 gns. Provenance: Not known.

81. THE MOUNTAIN 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart, No 9 (as The Mountain, lent by Mrs I A Johnston), NFS. Provenance: Not known.

82. DOWN ELPHINSTONE ROAD c1946

Exhibitions: 2nd–13th October 1946 TGP 7th Annual Exhibition TMAG Hobart, No 21 (as Down Elphinstone Road), 8 gns. Provenance: Not known.

83. GRAY’S BARN 1946–47 see also catalogue number 54 on page 60

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No 10 (as Gray’s Barn), 7 gns. Provenance: Not known.

84. MIDLAND PASTURES no later than April 1947

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No 9 (as Midland Pastures lent by Mr A R Sheepley), NFS. Provenance: Not known.

65 85. ‘OKEHAMPTON’ LANDSCAPE 1946–47

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No 11 (as ‘Okehampton’ Landscape), 7 gns. Provenance: Not known.

86. ‘OKEHAMPTON’ HOUSE 1946–47

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No 12 (as ‘Okehampton’ House), 7 gns. Provenance: Not known.

87. GUM TREES NEAR OATLANDS c1947 29.5 34.5cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 16 (as Gum Trees near Oatlands, dated as c1947, inscribed with title on backing board, collection Mr L S Whitham). Provenance: Not known- Mr Whitham - Not known.

88. FISHING BOY c1947

Exhibitions: 8th–19th October 1947 TGP 8th Annual Exhibition TMAG Ho- bart, No 18 (as Fishing Boy), NFS. Provenance: Not known.

89. VICTORIA DOCK, ENTERPRISE IN BACKGROUND 1947 20.2 26.5cm signed× lower right

Exhibitions: 27th April–15th May 1978 Fifty Years of Watercolour Painting in Tasmania 1928–78 University of tasmania, No. 6 (as Victoria Dock 1940, 20.3 26.4 cm, lent from a private collection). × 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 14 (as Victoria Dock, ‘Enterprise’ in Background, dated as 1947, (illust.), collection Mr & Mrs Hope-Johnstone). Provenance: Mr & Mrs R Hope-Johnstone.

90. BUSH AT CHAUNCY VALE c1948

Exhibitions: July 1948 Australian Watercolour Institute 25th annual exhibi- tion, Sydney, No 13 (as Bush at Chauncy Vale,9 gns. Provenance: Not known.

66 91. FEDERATION PEAK 30th December 1947 28.5 43.5cm signed× and dated ‘H BUCKIE / 30/12/47’ lower right

Exhibitions: 1978 Fifty Years of Watercolour Painting in Tasmania 1928– 1978 University of Tasmania, No 7 (as Federation Peak, 1947, 28.5 44 cm, lent from a private collection). × 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 15 (as Federation Peak from Huon Plains, dated as 1947, inscribed with title on backing board, (illust.), collection Mr & Mrs Hope-Johnstone). Provenance: Mr & Mrs R Hope-Johnstone - Not known.

92. FEDERATION PEAK FROM THE CRACROFT PLAINS December 1947–January 1948 29.5 33 cm (sight) signed× lower right ‘H BUCKIE’

The scene is painted from on or near McKay’s Track at the Cracroft Crossing. The viewer looks across the Cracroft Plains, through a gap in the Arthur Range with, appropriately, Mount Piguenit on the left and Lucifer Ridge on the right, to Federation peak. It is a fine example of a Tasmanian wilderness landscape. The colouring of bare rocky slopes contrasts with the characteristic greens of the southwestern vegetation. Shadow on the right-hand ridge and swirling cloud hint at the unreliable weather of the region. An almost identical painting of Federation Peak, (from Huon Plains [sic]) [13, cat.no.15, illust.], was painted by Buckie, as rain swept nearer and companions grew edgy [14], on the walk out to Geeveston from Lake Pedder after the first landing by aeroplane on the beach of Lake Pedder in December 1947. The weather must have also been a factor in this work as some washes in the foliage are darker at the edges suggesting more hurried application than customary. Also pencilled-in cumulus clouds were overtaken by events and an ominous swirling bank of raincloud painted in their place! The two works are identical in composition. Each was painted from a spot near the Cracroft Crossing at the edge of the Cracroft Plains (mistakenly called the Huon Plains in [13, catalogue no. 15]). Buckie exhibited one painting from his 1947-48 trip to Pedder [6, 1948 cata- logue], and no more from the Lake Pedder area until he showed six paintings, five of views near Pedder and one of Mt. Wedge, in March 1954, [6, 1954 catalogue], and a few in later years. We know that Harry visited Lake Pedder in the summer of 1947-48, walking out via Geeveston. We infer from the above paragraph that he did not re-visit the area until the summer of 1953-54, and moreover it is likely that he flew in, walked and painted in the vicinity of the lake, and painted Mt Wedge [6, catalogue no. 7] on the walk out. Mt. Wedge, not easily seen from the track to Geeveston, is a natural subject for painting from the alternative route out to Maydena. We conclude that on this 1953-54 visit Buckie’s party walked out via Maydena rather than Geeveston. As Federation Peak from the Cracroft Plains was painted from a point on the track to Geeveston, not the track to Maydena, we tentatively conclude that it

67 was painted in the summer of 1947-48 rather than on Buckie’s later visit to Lake Pedder. The signature lends weight to this view. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; from 1945 he signed as ‘H BUCKIE’ or ‘H.BUCKIE’ until after October 1949 using only ‘Harry Buckie’. Thus the signature ‘H BUCKIE’ on Federation Peak, from the Cracroft Plains also supports the summer of 1947-48 as the work’s date rather than the summer of 1953-54. On balance, we incline to the view that Buckie painted Federation Peak twice on his first trek, firstly on 30th December 1947 [13, catalogue no. 15, dated 30.12.47] under difficult conditions [14], and a second time under more relaxed conditions probably on the last day of the old year. This work is the latter painting. Provenance: Not known - 2006 Private collection, Hobart.

93. MOUNTAINS OF THE SOUTH-WEST 1947–48

Exhibitions: 7th–18th April 1948 AST 64th Annual Exhibition Hobart, No 11 (as Mountains of the South-West), 12 gns. Provenance: Not known.

94. JORDAN RIVER January–March 1948 24.7 32.8 cm (sight) signed× lower right ‘H.BUCKIE’ in the original Hook frame and mount

A view across the Cove Hill Road bridge over the River Jordan, some three kilometers upstream from the mouth of the stream. The bridge still exists as painted. Exhibitions: 7th–18th April 1948 AST 64th Annual Exhibition Hobart, No 12 (as Jordan River), 8 gns. Provenance: Not known - Yorktown Gallery, Launceston - 2007 Private col- lection, Hobart.

95. VICTORIA DOCK, HOBART 1948–49 26.5 36.5cm signed× lower right

Exhibitions: Possibly 30th March–10th April 1949 AST 65th Annual Exhibi- tion Hobart, No 17 (as Victoria Dock), 10 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 26 (as Victoria Dock, Hobart, Tasmania, dated as 1955, inscribed with title on verso, collection Mrs P M Myhill). Provenance: Mrs P M Myhill - Not known.

68 96. CANAL ENTRANCE, DUNALLEY 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho- bart, No 18 (as Canal Entrance, Dunalley), 7 gns. Provenance: Not known.

97. OLD BUILDING, CAMPBELL TOWN 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho- bart, No 19 (as Old Building, Campbell Town), 8 gns. Provenance: Not known.

98. NEAR WILMOT HARBOUR 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho- bart, No 20 (as Near Wilmot Harbour), 6 gns. Possibly 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart, No 22 (as Wilmot Harbour), 7 gns. Provenance: Not known.

99. THE LEVEN, ULVERSTONE 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho- bart, No 21 (as The Leven - Ulverstone), 7 gns. Provenance: Not known.

100. FARM WAGGON 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho- bart, No 22 (as Farm Waggon), 5 gns. Provenance: Not known.

101. A TASMANIAN VALLEY c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart, No 19 (as A Tasmanian Valley), 10 gns. Provenance: Not known.

102. VILLAGE UNDER THE CLIFF c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart, No 20 (as Village under the Cliff), 9 gns. 22nd–31st March 1950 Tasmanian Art Arts Council of Australia ACT Division Canberra, No 24 (as Village under the Cliff), 10 gns. Provenance: Not known.

69 103. TREES AT ORFORD c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart, No 21 (as Trees at Orford), 8 gns. Provenance: Not known.

104. THE TALL GUM c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart, No 23 (as The Tall Gum), 7 gns. Provenance: Not known.

105. OLD BARN c1949 signed lower right ‘Harry Buckie’

There is a photograph of the painting in the possession of a member of the artist’s family [10]. Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart, No 24 (as Old Barn), 6 gns. Provenance: Not known.

106. MOLE CREEK 1948–49

Exhibitions: 12th November 1949 AST Exhibition Lady Franklin Museum Hobart, No 3 (as Mole Creek), 10 gns. Provenance: Not known.

107. BOATS AT PORT ADELAIDE c1949

Exhibitions: 12th November 1949 AST Exhibition Lady Franklin Museum Hobart, No 4 (as Boats at Port Adelaide), 7 gns. Provenance: Not known.

108. MONTPELIER RETREAT c1950 see also catalogue number 60 on page 61 24.5 34.5cm signed× lower right ‘Harry Buckie’

Inscribed on the backing verso, by Henry Allport, ‘The Montpelier Retreat, originally a Public House in Montpelier Street, Hobart, by Harold [sic] Buckie, 1950’ this Battery Point streetscape of a house in Montpelier Retreat viewed from James Street is likely to have been acquired from Buckie directly by Allport and thence passed to the Allport Collection. It was shown at the 1981 TMAG retrospective exhibition of Harry Buckie’s watercolours as Old Hobart.

70 However we believe that it was catalogued there under an incorrect title. It is not Old Hobart, catalogue number 60 on page 61, which dates from the years 1943–44. The signature on Montpelier Retreat supports a date no earlier than 1948 (see page ??), thus agreeing with Allport’s annotation. In support of this conclusion, a photograph of the painting in the possession of a relative [10] is labelled ‘Montpelier Retreat’. We note in passing that Allport’s annotation does contain one error; Buckie’s name was ‘Harry’ not ‘Harold’. Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 21 (as Old Hobart, dated 1950, inscribed by Henry Allport ‘The Montpelier Retreat, originally a Public House in Montpelier Street, Hobart, by Harold [sic] Buckie, 1950’ on backing board, (illust.)). Provenance: Not known - Allport Museum.

109. THE WORKSHOP AT ‘WAVERLEY’ 1950 21.5 31.2cm signed× lower centre

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 18 (as The Workshop at Waverley, dated as 1950, collection Mr Stewart Agnew). Provenance: Not known- Mr Agnew - Not known.

110. THE VERANDAH AT ‘WAVERLEY’ 1950 31.5 36.5cm signed× and dated lower right, inscribed ‘To Marie and Stewart from Marg and Harry’ lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 19 (as The Verandah at Waverley, dated 1950, collection Mr Stewart Agnew). Provenance: Not known- Mr Agnew - Not known.

111. INSIDE ‘WAVERLEY’ 1950 31 36.5cm signed× and dated lower right,

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 20 (as Inside ‘Waverley’, dated 1950, collection Mr Stewart Agnew). Provenance: Not known- Mr Agnew - Not known.

112. THE STABLES AT ‘WAVERLEY’ between 1945–49, c1949 29 37.3 cm (sight) signed× lower right ‘H BUCKIE’

The sandstone stables are on the ‘Waverley’ property west of Oatlands in the Tasmanian Midlands. The foreground is dry grass with a dirt track and rocks leading to the building. The clear sky and sharp shadows give a strong feeling of mid-summer.

71 “. . . it is one of his best. . . , masterly in the subtle variations in the treatment of the stone, and his little ‘colour touches’ in the hint of rust on the roof.” [10]. Buckie has created the effect of distance and hillside in the almost featureless straw coloured grass of the foreground, and made the pine tree solid and dark in an excellent but simple composition. The Agnew family owned the ‘Waverley’ property a few miles west of Oatlands. They raced ‘Abyssinia’, a Melbourne Cup winner, which has its grave and tombstone near the road into the property. The famiy later ‘got religion’ and also lost heavily during the Depression. Consequently they chose to live in Hobart with the children, including their son Stewart, rather than send them to boarding school. At this time Patricia Scott’s father leased ‘Waverley’, and Patricia remembers that her nieces called the derelict stables ‘Rat and Mouse House’ for obvious reasons! Stewart lived on the property with them after finishing school. He married Marie Reynolds on 20 December 1939 and ran the property himself for many years. The second Mrs. Buckie [11] was a good friend of Marie, and after she and Harry married in 1942 they often travelled to Oatlands by bus, were met, and spent time at ‘Waverley’. Three watercolours arising from these visits, all dated 1950, were loaned by Stewart Agnew for the Buckie Retrospective Exhibition [13]. We thus have reasonable grounds for believing this painting is from the same period. The signature ‘H BUCKIE’ lends weight to this view. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; from 1945 he signed as ‘H BUCKIE’ or ‘H.BUCKIE’, until by October 1949 switching permanently to ‘Harry Buckie’. The painting was discovered at Gowan’s Auctions in 2005, tucked between an- other Buckie farm scene and its backing. The support of The Stables, Waverley is pasted to cardboard, On the left-hand side of the cardboard, beside the pa- per support, is a sketch of a seated older woman, in blue ballpoint pen. The painting itself is in excellent condition. Provenance: Not known - 2005 Private collection, Hobart.

113. THE LAST OF THE BARGES c1949 30 39 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 17 (as The Last of the Barges, dated as c1949, inscribed with title on backing board, collection Mrs N R Thompson). Provenance: Not known- Mrs Thompson - Not known.

114. SHIPS IN PORT 1949–50

Exhibitions: 19th–30th April 1950 AST 66th Annual Exhibition Hobart, No 12 (as Ships in Port), 8 gns. Provenance: Not known.

72 115. DOCK SCENE 1949–50

Exhibitions: 19th–30th April 1950 AST 66th Annual Exhibition Hobart, No 13 (as Dock Scene), 8 gns. Provenance: Not known.

116. OLD BUILDINGS, HAMILTON 1949–50

Exhibitions: 19th–30th April 1950 AST 66th Annual Exhibition Hobart, No 14 (as Old Buildings, Hamilton), 8 gns. Provenance: Not known.

117. GUMS IN SUNLIGHT c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAG Hobart, No 14 (as Gums in Sunlight), 10 gns. Provenance: Not known.

118. A HOT DAY c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAG Hobart, No 15 (as A Hot Day), 12 gns. Provenance: Not known.

119. Mt ANN [sic] - Southwest Tasmania summer 1947–48

Exhibitions: 22nd–31st March 1950 Tasmanian Art Arts Council of Australia ACT Division Canberra, No 25 (as Mt Ann - Southwest Tasmania), NFS. Provenance: Not known.

120. LUNAWANNA JETTY by 1950

Exhibitions: 22nd–31st March 1950 Tasmanian Art Arts Council of Australia ACT Division Canberra, No 26 (as Lunawanna Jetty), 9 gns. Provenance: Not known.

121. GREY DAY IN THE BUSH c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAG Hobart, No 16 (as Grey Day in the Bush), 10 gns. Provenance: Not known.

122. AFTERNOON LIGHT c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAG Hobart, No 17 (as Afternoon Light), 10 gns.

73 Provenance: Not known.

123. LOW TIDE 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No 1 (as Low Tide), 10 gns. Provenance: Not known.

124. AGLIMPSEOFMt.OWEN 1950–51

Exhibitions: 11th–25th April 1951 67th AST Annual Exhibition Hobart, No 2 (as A Glimpse of Mt Owen), 10 gns. Provenance: Not known.

125. CRADLE MOUNTAIN 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No 3 (as Cradle Mountain), 10 gns. Provenance: Not known.

126. TALL TREES, NEAR SHEFFIELD 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No 4 (as Tall Trees, near Sheffield), 8 gns. Provenance: Not known.

127. OLD COTTAGE, NEAR OATLANDS 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No 5 (as Old Cottage near Oatlands), 9 gns. Provenance: Not known.

128. BURNT TREES 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart, No 11 (as Burnt Trees), NFS. November 1965 Exhibition of Paintings. Harry Buckie and Elspeth Vaughan Lloyd Jones Art Gallery Hobart, No 14 (as Burnt Trees), 23 gns Provenance: Not known.

129. RAIN OVER MARIA ISLAND 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart, No 12 (as Rain over Maria Island), 7 gns. Provenance: Not known.

74 130. VICTORIA STREET 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart, No 13 (as Victoria Street), 8 gns. Provenance: Not known.

131. MOUNTAIN TOPS FROM LAKE TAHUNE 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart, No 14 (as Mountain Tops from Lake Tahune), 8 gns. Possibly 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart, No 9 (as Mountain Tops), 10 gns. Provenance: Not known.

132. SCHOUTEN ISLAND c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart, No 10 (as Schouten Island), 7 gns. Provenance: Not known.

133. THE ACROPOLIS c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart, No 11 (as The ‘Acropolis’), 12 gns. Provenance: Not known.

134. REDBANKS SWANSEA c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart, No 13 (as Redbanks, Swansea), 8 gns. Possibly 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 13 (as Redbanks near Swansea), 12 gns. Provenance: Not known.

135. FISHERMENS’ SHACKS, BICHENO c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart, No 14 (as Fishermens’ Shacks, Bicheno), 6 gns. Provenance: Not known.

136. ‘WOOLNORTH’ PASTURES 1952 26.3 37.7cm signed× lower centre

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No 8 (as Woolnorth Pastures), 8 gns.

75 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 23 (as ‘Woolnorth’ Pastures, dated as 1952, collection Mr & Mrs R Hope-Johnstone). Provenance: Mr & Mrs Hope-Johnstone.

137. THE WRECK OF THE ‘COLLIBOI’ 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No 9 (as Wreck of the ‘Colliboi’), 7 gns. Provenance: Not known.

138. HOPFIELDS, DERWENT VALLEY 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No 10 (as Hopfields, Derwent Valley), 6 gns. Provenance: Not known.

139. QUIET MOORINGS 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No 11 (as Quiet Moorings), 7 gns. Provenance: Not known.

140. SWANSEA LANDSCAPE 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No 12 (as Swansea Landscape), 8 gns. Provenance: Not known.

141. RED BOATS 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No 13 (as Red Boats), 7 gns. Provenance: Not known.

142. ABORIGINAL CARVINGS, TASMANIA c1953

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAG Hobart, No 5 (as Aboriginal Carvings, Tasmania), 7 gns. Provenance: Not known.

143. TREE CONTRASTS c1953

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAG Hobart, No 6 (as Tree Contrasts), 9 gns. Provenance: Not known.

76 144. RIVER BANK, SWANSEA c1953

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAG Hobart, No 7 (as River Bank, Swansea), 8 gns. 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 11 (as River Bank), 35 gns. 7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery Hamilton Victoria, No 9 (as River Bank), $50. Provenance: Not known.

145. THE BARGE ‘ENTERPRISE’ c1953 34.5 33 cm signed× lower right

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAG Hobart, No 8 (as The Barge ‘Enterprise’), 12 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 33 (as The Barge ‘Enterprise’, dated as c1962, inscribed with title on backing board, collection J Hooper). Provenance: J Hooper.

146. Mt SOLITARY, LAKE PEDDER IN FOREGROUND January 1954 27.5 37 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 24 (as Mt Solitary, Lake Pedder in Foreground, dated as c1953, collection Mr L S Whitham). Provenance: Mr L S Whitham.

147. CORONATION PEAK, FRANKLAND RANGE January 1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart, No 4 (as Coronation Peak, Frankland Range), 12 gns. Provenance: Not known.

148. AGLIMPSEOFLAKEPEDDER January 1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart, No 5 (as A Glimpse of Lake Pedder), 10 gns. Provenance: Not known.

149. LAKE PEDDER BEACH January 1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart, No 6 (as Lake Pedder beach), 8 gns.

77 Provenance: Not known.

150. Mt WEDGE January1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart, No 7 (as Mt Wedge), 8 gns. 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart, No 4 (as Mt Wedge), 8 gns. Provenance: Not known.

151. RAIN PASSING FROM THE FRANKLANDS January1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart, No 8 (as Rain Passing from the Franklands), 10 gns. Provenance: Not known.

152. CLOUD OVER Mt ANNE January 1954

Exhibitions: 24th March–6th April 1954 70th Annual Exhibition Hobart, No 9 (as Cloud over Mt Anne), 8 gns. Provenance: Not known.

153. PORTION OF LAKE PEDDER January 1954 31.5 42 cm signed× lower left

Exhibitions: 17–26 October 1974 Australian Watercolour Institute 51st annual exhibition, Sydney, No 24 (as Portion of Lake Pedder Beach, Tasmania), $80. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 25 (as Portion of Lake Pedder, South West Tasmania, dated as 1954, (illust.), collection Mr & Mrs R Hope-Johnstone). Provenance: Mr & Mrs R Hope-Johnstone.

154. LAKE PEDDER January 1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAG Hobart, No 9 (as Lake Pedder), 15 gns. May 1954 Tasmanian Sesquicentenary Art Competition TMAG Hobart, No 6 (as Lake Pedder, S.W. Tasmania). Provenance: Not known.

155. MERIDETH [sic] RIVER c1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAG Hobart, No 10 (as Merideth River), 10 gns. Provenance: Not known.

78 156. GREENLEES c1954 27.3 38 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 22 (as Greenlees, dated as c1954, collection Mrs A R Ockendon,). Provenance: Mrs Ockendon.

157. PETER AND PAUL, OYSTER BAY c1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAG Hobart, No 11 (as Peter and Paul, Oyster Bay), 5 gns. Provenance: Not known.

158. PORTRAIT OF A DINGHY c1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAG Hobart, No 12 (as Portrait of a Dinghy), 8 gns. Provenance: Not known.

159. GREY MORNING, EAST COAST 1954–55

Exhibitions: 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart, No 5 (as Grey Morning, East Coast), 10 gns. Provenance: Not known.

160. QUARTZITE ROCKS, LAKE PEDDER 1954–55

Exhibitions: 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart, No 6 (as Quartzite Rocks, Lake Pedder), 12 gns. Provenance: Not known.

161. SEA PIECE 1954–55

Exhibitions: 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart, No 7 (as Sea Piece), 7 gns. 28th May–10th June 1968 AST 84th Annual Exhibition Hobart, No 11 (as Sea Piece), $60. c1970 Australia Junior Chamber of Commerce Community Art Exhibition Ho- bart, No 3 (as Sea Piece), $60. Provenance: Not known.

162. GREEN FIELD 1954–55

Exhibitions: .23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart, No 8 (as Green Field), 10 gns.

79 Provenance: Not known.

163. LOW TIDE, SWANSEA c1955

Exhibitions: 19th–30th October 1955 TGP 16th Annual Exhibition TMAG Hobart, No 11 (as Low Tide, Swansea), 15 gns. Provenance: Not known.

164. DEAD TREE PATTERN 1955 35.2 33.2 cm (sight) signed× lower right ‘Harry Buckie’ in the artist’s original framing and hand-painted French-lined mount

A view of dead gums in a pasture, probably at ’Waverley’ near Oatlands, with the Central Highlands as a distant backdrop. Removing the mount reveals more of the original painting, which measured at least 39.5 41.5cm. Buckie drew several pencil outlines for positioning a mount, focusing attention× on the foreground tree for a well-balanced composition. The omitted area, mainly foreground, has been partially torn away, and Buckie has re-signed the work (with an erased signature a little to the right of the inked final version). The masking of strongly coloured foreground grass and red-brown soil by the mount, has focussed attention on the complex shapes of the trunks and branches of the few dead trees. Buckie’s aim is epitomised by his choice of title, namely Dead Tree Pattern. The paper support was glued to a larger piece of cardboard. Interestingly, this cardboard is also secondhand, as verso are the few remains of another water- colour, presumably also by Buckie, and its mount. Remaining fragments of pencilled outlining here are consistent with his general practice (see, for exam- ple, recto). The home-made frame is painted white, and it and the mount offer an attractive and economical setting for the watercolour. We have preserved this presentation. Verso on Buckie’s hand-painted mount [printed, blue ink, in the artist’s hand] ’VICTORIA D[missing] / £15 1[missing] / H. [missing]’. This strongly sup- ports the case for this cardboard− to have originally been used as a backing board for another painting. From [13] it is tempting to assume that the work in question was the 1955 work Victoria Dock, Hobart, Tasmania, as this seems to be the only painting with a suitable title that was painted when Buckie’s works were offered at fifteen guineas. This confirms 1955 as an earliest date for the framing of Dead Tree Pattern. The style of signature [see relevant chapter, this article] is from a date after 1950, agreeing with our discussion. Together with an exhibition date in 1955, this information puts the date for the painting of Dead Tree Pattern in the year 1955. The omitted foreground is very reminiscent of that in The Stables at ‘Waverley’ and suggests that the two were painted circa 1950 when the Buckies were frequent guests at ’Waverley’. Exhibitions: 19th–30th October 1955 Tasmanian Group of Painters 16th An- nual Exhibition Hobart, No 12 (as Dead Tree Pattern), 12 gns. Provenance: Not known - 12th July 2008 Gowan’s Antique Auction - 2008 Private collection, Hobart.

80 165. LAKE PEDDER BEACH, LATE AFTERNOON c1955

Exhibitions: 19th–30th October 1955 TGP 16th Annual Exhibition TMAG Hobart, No 13 (as Lake Pedder Beach, Late Afternoon), ? gns. Provenance: Not known.

166. A VIEW OF SWANSEA AND SCHOUTEN MAIN c1955 reproduced in monochrome as front and back cover of ‘Pioneers of the East Coats from 1642’ by Karl von Stieglitz, OBE

Provenance: Returned Serviceman’s League - Not known.

167. BARN AT ‘COSWELL’ c1955

Exhibitions: 19th–30th October 1955 TGP 16th Annual Exhibition TMAG Hobart, No 14 (as Barn at ‘Coswell’), 10 gns. Provenance: Not known.

168. Mt SOLITARY, TOWARDS SUNSET 1955–56 34.5 41.5cm signed× lower right

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 11 (as Mt Solitary, towards Sunset), 20 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 32 (as Mt Solitary towards Sunset, South West Tasmania, dated as 1960, inscribed with title on backing board, collection G A Cole). Provenance: Not known - G Cole.

169. Mt SOLITARY FROM LAKE PEDDER CAMP 1955–56

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 12 (as Mt Solitary from Lake Pedder Camp), 12 gns. Provenance: Not known.

170. Mt. SOLITARY SOUTH WEST TASMANIA

Exhibitions: December 1972 The Tasmanian Landscape, No 6 (as Mt. Solitary South West Tas.), $62. Provenance: Not known.

171. ISOLATED MOUNTAIN AND Mt. ANNE

Exhibitions: May 1954 Tasmanian Sesquicentenary Art Competition TMAG Hobart, No 14 (as Isolated Mountain and Mt. Anne).

81 Provenance: Not known.

172. GREY AND GREEN, MEREDITH RIVER 1955–56 see also catalogue number 155 on page 78

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 14 (as Grey and Green, Meredith River), 10 gns. Provenance: Not known.

173. BUSH 1955–56

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 15 (as Bush), 8 gns. Provenance: Not known.

174. A SHIP IN PORT 1955–56

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 16 (as AShipinPort), 10 gns. 7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery Hamilton Victoria, No 8 (as Rough Sea, East Coast), $50. Provenance: Not known.

175. THE DERWENT FROM TAROONA HEIGHTS c1956 25.2 35.8 cm (sight) signed× lower left ‘Harry Buckie’ in the artist’s hand-painted mount

The scene looks across partially cleared paddocks to the Lower Derwent from Bonnet Hill near Taroona as a small steamer sails downstream. It is a very fine example of a complex and detailed landscape in the Cotman tradition. The bare minimum of initial pencil outlining combined with sure flowing of subtle variations of greens onto the paper has produced a compelling combination of grass and bush, sun and shade. The lightening of the distant Eastern Shore hills, done with deceptive ease, adds to the effect of depth created by sky and water. The work shows the view from Bates’ property in the hills south of Taroona. It passed to Mr. Bates’ son by descent and first appeared in the public domain at auction in May 2005. Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a mono- gram; from 1945 he signed as ‘H BUCKIE’ or ‘H.BUCKIE’, until by October 1949 switching permanently to ‘Harry Buckie’. P We thus have reasonable grounds for believing this painting to be from the period after October 1949. In addition, we know from annotations [6, 1956 catalogue], that Mr. Bates took an option on a Buckie painting in March 1956, and later cancelled it. He may have decided instead to commission The Derwent from Taroona Heights directly from the artist.

82 The brown cardboard mount is hand-painted by Buckie in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popularised in Tasmania by Launceston artist-framer GeoffTyson, is charac- teristic of Buckie’s framing at this time. There is neither foxing nor noticeable fading of the watercolour. The support is pasted to a brown cardboard backing. Verso, on the backing, top right [in biro] ‘THE DERWENT FROM TAROONA HEIGHTS’, top left [in pencil] ‘Mr. Bates / c/o Leyland Motors / 20 + 16 / 11/2 DD Wax Nat / acs(?) / 14th Feb’. Provenance: Commissioned by the family of Mr. Norman Bates (1931-2003) - 2003 By descent - 2005 Private collection, Hobart.

176. ROCKS AT SWANSEA c1956

Exhibitions: 17th–28th October 1956 TGP 17th Annual Exhibition TMAG Hobart, No 11 (as Rocks at Swansea), 12 gns. 13th–16th December 1956 Open Air Art Festival Adult Education Board Ho- bart, No 210 (as Rocks at Swansea), 12 gns. Provenance: Not known.

177. THE BLACK ROCK, SWANSEA 1956–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium Collins St Hobart, No 18 (as The Black Rock, Swansea), 15 gns. Provenance: Not known.

178. IN SALAMANCA PLACE 1956-57

Exhibitions: 27th March–28th April 1957 First Tasmanian Art Gallery Exhi- bition TMAG Hobart, No 6 (as In Salamanca Place), 15 gns. Provenance: Not known.

179. MARION BAY BEACH 1956 19.5 30 cm signed× lower right

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery Hamilton Victoria, No 12 (as Marian [sic] Bay Beach), $50. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 27 (as Marion Bay Beach, dated 1956, collection Mr & Mrs R Hope-Johnstone). Provenance: Mr & Mrs R Hope-Johnstone.

180. ACROSS THE DERWENT c1956

Exhibitions: 17th–28th October 1956 TGP 17th Annual Exhibition TMAG Hobart, No 12 (as Across the Derwent), 12 gns.

83 Possibly 13th–16th December 1956 Open Air Art Festival Adult Education Board Hobart, No 208 (as Across the River), 12 gns. Provenance: Not known.

181. ACROSS THE RIVER see catalogue number 181 on page 84

Exhibitions: 13th–16th December 1956 Open Air Art Festival Adult Educa- tion Board Hobart, No 208 (as Across the River), 12 gns.

182. Mt DROMEDARY c1956

Exhibitions: 17th–28th October 1956 TGP 17th Annual Exhibition TMAG Hobart, No 13 (as Mt Dromedary), 12 gns. Provenance: Not known.

183. LAKE PEDDER, WEST c1957

Exhibitions: 31st October–10th November 1957 TGP 18th Annual Exhibition TMAG Hobart, No 14 (as Lake Pedder, West), NFS. Provenance: Not known.

184. LAKE PEDDER, EAST c1957

Exhibitions: 31st October–10th November 1957 TGP 18th Annual Exhibition TMAG Hobart, No 15 (as Lake Pedder, East), 15 gns. Provenance: Not known.

185. LAKE KING WILLIAM c1957

Exhibitions: 31st October–10th November 1957 TGP 18th Annual Exhibition TMAG Hobart, No 17 (as Lake King William), 14 gns. Provenance: Not known.

186. THE RED TRACK, SWANSEA 1957–58

Exhibitions: 7th–18th May 1958 74th AST Annual Exhibition Hobart, No 6 (as The Red Track, Swansea), 12 gns. Provenance: Not known.

187. EAST COAST c1957 24 34 cm signed× lower right

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Collins St Hobart, No 10 (as East Coast) 15 gns.

84 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 28 (as East Coast, dated as c1957, inscribed with title on backing board, collection Miss E H Sargeant). Provenance: Miss E H Sargeant - Not known.

188. TRAMPS ON THE YARRA 1 1957–58

Exhibitions: 7th–18th May 1958 AST 74th Annual Exhibition Hobart, No 7 (as Tramps on the Yarra 1), 12 gns. Provenance: Not known.

189. TRAMPS ON THE YARRA 2 1957–58

Exhibitions: 7th–18th May 1958 AST 74th Annual Exhibition Hobart, No 8 (as Tramps on the Yarra 2), 10 gns. Provenance: Not known.

190. RED TRAMP ON THE YARRA 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium Collins St Hobart, No 20 (as Red Tramp on the Yarra ), 15 gns. Provenance: Not known.

191. BOAT HARBOUR, WYNYARD 1957–58

Exhibitions: 7th–18th May 1958 AST 74th Annual Exhibition Hobart, No 9 (as Boat Harbour, Wynyard), 12 gns. Provenance: Not known.

192. TREES BY THE SEA 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium Collins St Hobart, No 19 (as Trees by the Sea), 10 gns. Provenance: Not known.

193. TWO GATES 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium Collins St Hobart, No 16 (as Two Gates), 15 gns. Provenance: Not known.

194. GUM TREE AND BARN 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium Collins St Hobart, No 17 (as Gum Tree and Barn), 15 gns. Provenance: Not known.

85 195. A QUIET MORNING 1957–58

Exhibitions: 26th March–27th April 1958 2nd Tasmanian Art Gallery Exhi- bition TMAG Hobart, No 7 (as A Quiet Morning), 15 gns. Provenance: Not known.

196. Mt DIRECTION FROM THE DOMAIN c1958 27 36.5cm signed× lower right

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 8. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 29 (as Mt Direction from the Domain, Hobart, dated as c1958, inscribed with title on backing board, (illust.), collection Mr W A Ihlenfeld). Provenance: Mr W A Ihlenfeld - Not known.

197. AYERS ROCK, CENTRAL AUSTRALIA 1958 35 48 cm signed× lower left

Exhibitions: 1964 Summer Art Exhibition Adult Education Board Cat and Fiddle Arcade Hobart & Trustees’Court and Arcade Launceston, No 22 (as Ayers Rock, Northern Territory), 25 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 30 (as Ayers Rock, Central Australia, dated as 1959, inscribed with title on backing board, collection Mrs M Boreham). Provenance: Mrs M Boreham - Not known.

198. CEREMONIAL ROCK AND PALM PADDOCK 1958 27.5 38 cm signed× lower left

Exhibitions: 1959 Exhibition of Watercolours, Central Australia, by Harry Buckie Fitzgerald’s Auditorium Hobart, No 6. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 29 (as Mt Direction from the Domain, Hobart, dated as c1958, inscribed with title on backing board, collection Mrs J S Luckman). Provenance: Mrs J S Luckman - Not known.

199. GIDGEE TREE, CENTRAL AUSTRALIA 1958

Exhibitions: 22nd April–3rd May 1959 AST 75th Annual Exhibition Hobart, No 11 (as Gidgee Tree, Central Australia), 20 gns. Provenance: Not known.

86 200. FINKE RIVER BED, CENTRAL AUSTRALIA 1958

Exhibitions: 22nd April–3rd May 1959 AST 75th Annual Exhibition Hobart, No 14 (as Finke River Bed, Central Australia), 15 gns. Provenance: Not known.

201. FINKE RIVER GUM 1958

Exhibitions: 25th March–26th April 1959 3rd Tasmanian Art Gallery Exhibi- tion TMAG Hobart, No 5 (as Finke River Gum), 20 gns. Provenance: Not known.

202. Mt UNDOOLYA, CENTRAL AUSTRALIA 1958

Exhibitions: 22nd April–3rd May 1959 AST 75th Annual Exhibition Hobart, No 15 (as Mt Undoolya, Central Australia), 15 gns. Provenance: Not known.

203. SIMPSON’S GAP 1958 27.9 38.1 cm (sight) signed× lower right ‘Harry Buckie’ in the artist’s frame and hand-painted mount

Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob- ably during the winter. This view towards Simpson’s Gap across flat white sand was painted on that trip. The Gap is 18 kilometers west of Alice Springs. Verso, on the cardboard pasted to the paper support, top in ball-point, ‘Simp- son’s Gap, Macdonnell Range N.T.’ This is printed over [in pencil, handwritten in the artist’s hand] ‘for Simpson’s Gap’. On the frame [in pencil] ‘Simpson’s Gap (near)’ and ‘No 11’. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popu- larised in Tasmania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time. Exhibitions: 1959 [15] Exhibition of Watercolours, Central Australia Fitzger- ald’s Auditorium Collins St Hobart, No 11. (as Simpson’s Gap). Provenance: Not known - 2007 Gowans’ Auctions, from an estate - 2007 Pri- vate collection.

204. RED BANK AND DESERT OAK, PALMER RIVER 1958 27 37 cm (sight) signed× lower right ‘Harry Buckie’ in the artist’s frame and hand-painted mount

Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob- ably during the winter. This work was painted on that trip, and is in its original mount, hand-painted by the artist. The Stuart Highway crosses the Palmer River about 150 kilometers south of Alice Springs.

87 Verso upper left top, on the the original pasted paper backing, ’No 1 / Red Bank and Desert Oak, Palmer River’. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popu- larised in Tasmania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time. Exhibitions: 22nd April–3rd May 1959 75th Annual AST Exhibition Hobart, No 12 (as Red Bank and Desert Oak, Palmer River), 14 gns. 1959 [15] (or, less likely, in 1960 [?]) Central Australia Fitzgerald’s Auditorium Hobart, No 1. Provenance: Not known - 2007 Gowans’ Auctions, from an estate - 2007 Pri- vate collection.

205. MULGA SCRUB, NORTHERN TERRITORY 1958

Exhibitions: 30th August–11th September 1960 TGP 21st Annual Exhibition Hobart, No 12 (as Mulga Scrub, Northern Territory), 18 gns. Provenance: Not known.

206. THE LITTLE GHOST GUM, CENTRAL AUSTRALIA 1958

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho- bart, No 11 (as The Little Ghost Gum, Central Australia), NFS. Provenance: Not known.

207. SILVER LIGHT 1958 25 32.6 cm (sight) signed× and dated lower left ‘Harry Buckie 1958’ in the artist’s frame and hand-painted mount

The scene looks north along Lisdillon Beach past Boag’s Point to the Hazards. Verso, on the backing, top right in ink, ‘SILVER LIGHT / £10.10.0 / [not in the artist’s hand] H. Buckie / 40A Montagu St. / Lenah Valley’ and in the centre [in a different, also not the artist’s, hand] in biro, ‘To Clair and Alf / A gift of nostalgia of our own East Coast / From Nora and from Marge’. The Buckies sometimes stayed with some friends “called Nora and Marge” at their cottage a little south of Swansea [10]. It is possible that they are the couple referred to in this inscription. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popu- larised in Tasmania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing at this time. Exhibitions: 4th–15th May 1960 AST 76th Annual Exhibition Hobart, No 9 (as Silver Light), 15 gns. 3rd–14rd May 1961 AST 77th Annual Exhibition Hobart, No12 (as Silver Light), 14 gns. 30th August–10th September 1961 TGP 22nd Annual Exhibition, No 9 (as Silver Light), 16 gns.

88 Provenance: Not known - 2004 Gowans’ Auctions, from an estate - 2004 Pri- vate collection.

208. [ROCK POOL] circa late 1950s 18.3 25.9 cm (sight) unsigned× and undated in the artist’s hand-painted mount

A view of part of a stream. The timbered hillside continues to the righthand top of the painting. Unusually for Buckie, there is no horizon. The work is in its original mount, hand-painted by the artist. The work came from the same estate as Silver Light. The brown cardboard mount is hand-painted in light grey separated from a white inner band by a thin ruled pencil line. This French-lining style, popu- larised in Tasmania by Launceston artist-framer GeoffTyson, is characteristic of Buckie’s framing in the late 1950s. The view of Simpson’s Gap painted on his 1958 visit to Central Australia with Ralph Hope-Johnstone uses a version of this mounting style, giving an approximate date for the painting. Provenance: Not known - 2004 Gowan’s Auctions, from an estate - 2004 Pri- vate collection, Hobart.

209. LANDSCAPE AFTER RAIN before 1959 see also catalogue number 247 on page 95

Exhibitions: 1959 Paintings by Tasmanian Artists Adult Education Board, No 9 (as Landscape after Rain), 12 gns. 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 12 (as After Rain), $55. Provenance: Not known.

210. BOATS AT WYNYARD c1959

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho- bart, No 12 (as Boats at Wynyard), 14 gns. Provenance: Not known.

211. LOW TIDE AT STANLEY c1959

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho- bart, No 13 (as Low Tide at Stanley), 14 gns. Provenance: Not known.

212. AT BICHENO c1959

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho- bart, No 14 (as At Bicheno), 14 gns. Provenance: Not known.

89 213. PITTWATER 1959–60

Exhibitions: 4th–15rd May 1960 AST 76th Annual Exhibition Hobart, No 10 (as Pittwater), 15 gns. 3rd–14rd May 1961 AST 77th Annual Exhibition Hobart, No 11 (as Pittwater), 16 gns. Possibly April & May 1980 Water Colours by Tasmanian Artists Art Centre Galleries (Cottage Tea Rooms, Richmond 23rd April & 85 Elizabeth Street Hobart 7th May), No 23 (as Pittwater Cambridge Tasmania), $60. Provenance: Not known.

214. STORM APPROACHING PITTWATER 1959–60

Exhibitions: 1959 Paintings by Tasmanian Artists Adult Education Board, No 7 (as Storm Approaching Pittwater), 12 gns. 4th–15rd May 1960 76th Annual Exhibition Hobart, No 11 (as Storm approach- ing Pittwater), 14 gns. Provenance: Not known.

215. EROSION AND TREES 1959–60

Exhibitions: 4th–15rd May 1960 AST 76th Annual Exhibition Hobart, No 112 (as Erosion and Trees), 12 gns. Provenance: Not known.

216. PASSING CLOUD c1960

Exhibitions: 30th August–11th September 1960 TGP 21st Annual Exhibition Hobart, No 9 (as Passing Cloud), 15 gns. Provenance: Not known.

217. A VIEW OF OATLANDS FROM MOUNT BURBURY c1960 reproduced in monochrome as front and back cover of ‘A History of Oatlands and Jericho’ by Karl von Stieglitz, OBE

Provenance: Not known.

218. GREY SKIES c1960

Exhibitions: 30th August–11th September 1960 TGP 21st Annual Exhibition Hobart, No 10 (as Grey Skies), 12 gns. Provenance: Not known.

90 219. LONELY DINGHY c1960

Exhibitions: 30th August–11th September 1960 TGP 21st Annual Exhibition Hobart, No 11 (as Lonely Dinghy), 14 gns. Provenance: Not known.

220. LANDSCAPE possibly 1960

Exhibitions: 23rd March–24th April 1960 4th Tasmanian Art Gallery Exhibi- tion TMAG Hobart, No 4 (as Landscape), 18 gns. 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 7 (as Landscape), 10 gns. Provenance: Not known.

221. GUNNER’S QUOIN c1959–60

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 8 (as Gunner’s Quoin), 10 gns. Provenance: Not known.

222. TWO TREES, NORTHERN TERRITORY 1958

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 9 (as Two Trees, Northern Territory), 14 gns. Provenance: Not known.

223. AT ROKEBY c1959–60

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 12 (as At Rokeby), 12 gns. Provenance: Not known.

224. THE YELLOW DOOR 1960–61

Exhibitions: 3rd–14rd May 1961 AST 77th Annual Exhibition Hobart, No 10 (as The Yellow Door), 15 gns. Provenance: Not known.

225. A VIEW OF NEW NORFOLK FROM PEPPERMINT HILL c1961 reproduced in monochrome as front and back cover of ‘A History of New Norfolk and the Derwent Valley’ by Karl von Stieglitz, OBE

Provenance: Not known.

91 226. LANDSCAPE c1961

Exhibitions: 30th August–10th September 1961 TGP 22nd Annual Exhibition Hobart, No 6 (as Landscape), 16 gns. Provenance: Not known.

227. CREEK c1961

Exhibitions: 30th August–10th September 1961 TGP 22nd Annual Exhibition Hobart, No 7 (as Creek), 16 gns. Provenance: Not known.

228. RIVER REFLECTIONS c1961

Exhibitions: 30th August–10th September 1961 TGP 22nd Annual Exhibition Hobart, No 8 (as River Reflections), 16 gns. Provenance: Not known.

229. PROMISE OF RAIN 1961–62

Exhibitions: 2nd–12th May 1962 AST 78th Annual Exhibition Hobart, No 8 (as Promise of Rain), 25 gns. Provenance: Not known.

230. EARLY MORNING TAMAR RIVER 1961–62

Exhibitions: 2nd–12th May 1962 AST 78th Annual Exhibition Hobart, No 9 (as Early Morning Tamar River), 20 gns. Provenance: Not known.

231. CREEK IN FLOOD, CAMPANIA c1962 27.7 37.5cm signed× lower right

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 12 (as Creek in Flood), 18 gns.. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 34 (as Creek in Flood, Campania, dated as c1962, inscribed with title on backing board, collection QVMAG). Provenance: QVMAG acquired 1963.

26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 13 (as Near Low Head), 18 gns.

92 232. COAST NEAR DUNALLEY No 1 c1963

27 37.6cm signed× lower right ‘Harry Buckie’ )

Exhibitions: 1963 Cat and Fiddle Art Exhibition Adult Education Board Ho- bart, No 155 (as Coast near Dunalley No 1), 30 gns. Possibly 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 35 (as Near Dunalley, dated as c1963, collection Miss Joan Buckie). Provenance: Possibly Miss J Buckie.

233. COAST NEAR DUNALLEY No 2 c1963

27 37.6cm signed× lower right ‘Harry Buckie)

Exhibitions: 1963 Cat and Fiddle Art Exhibition Adult Education Board Ho- bart, No 154 (as Coast near Dunalley No 2), 25 gns. Possibly 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 35 (as Near Dunalley, dated as c1963, collection Miss Joan Buckie). Provenance: Possibly Miss J Buckie.

234. WHITE SANDS AT SEAFORD 1962–63

Exhibitions: 1st–12th May 1963 AST 79th Annual Exhibition Hobart, No 7 (as White Sands at Seaford), 30 gns. Provenance: Not known.

235. THE SAND DUNE 1962–63

Exhibitions: 1st–12th May 1963 AST 79th Annual Exhibition Hobart, No 8 (as The Sand Dune), 30 gns. Provenance: Not known.

236. AUTUMN AT NEW NORFOLK 1962–63

Exhibitions: 1st–12th May 1963 AST 79th Annual Exhibition Hobart, No 9 (as Autumn at New Norfolk), 30 gns. Provenance: Not known.

237. A VIEW OF HAMILTON FROM PROSPECT HILL c1963 reproduced in monochrome as front and back cover of ‘A History of Hamilton, Ouse and Gretna’ by Karl von Stieglitz, OBE

Provenance: Not known.

93 238. GUMS ON THE DOMAIN 1963–64

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart, No 13 (as Gums on the Domain), 20 gns. Provenance: Not known.

239. CALM EVENING 1963–64

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart, No 14 (as Calm Evening), 22 gns. Provenance: Not known.

240. WINTER CALM

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 9 (as Winter Calm), NFS. Provenance: Not known.

241. LANDSCAPE NEAR DELORAINE 1962 see also catalogue number 257 on page 96

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 16 (as Landscape near Delo- raine), 30 gns. Provenance: Not known.

242. WILLOW 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 10 (as Willow), 35 gns. Provenance: Not known.

243. NEAR LOW HEAD 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 13 (as Near Low Head), 18 gns. Provenance: Not known.

244. RING BARKED TREE 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 14 (as Ring Barked Tree), 30 gns. Provenance: Not known.

94 245. SHE OAK BY THE SHORE 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 10 (as She Oak by the Shore), 16 gns. Provenance: Not known.

246. DRY COUNTRY 1963–64

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart, No 15 (as Dry Country), 24 gns. Provenance: Not known.

247. AFTER THE RAIN 1963–64 see also catalogue number 209 on page 89

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart, No 16 (as After the Rain), 21 gns. Provenance: Not known.

248. MIST OVER THE SEA 1963–64

Exhibitions: 1964 Summer Art Exhibition Adult Education Board Cat and Fiddle Arcade Hobart & Trustees’ Court and Arcade Launceston, No 23 (as Mist over the Sea), 22 gns. Provenance: Not known.

249. LAKE NICHOLLS, NATIONAL PARK 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart, No 6 (as Lake Nicholls, National Park), 23 gns. November 1965 Exhibition of Paintings. Harry Buckie and Elspeth Vaughan Lloyd Jones Art Gallery Hobart, No 1 (as Lake Nicholls, National Park), 23 gns. Provenance: Not known.

250. HEADLAND, CARLTON c1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 2 (as Headland, Carlton), 20 gns. Provenance: Not known.

251. DERELICT 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart, No 7 (as Derelict), 23 gns.

95 Provenance: Not known.

252. THE ARVE RIVER 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart, No 8 (as The Arve River), 23 gns. Provenance: Not known.

253. SEASCAPE, BRUNI 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart, No 9 (as Seascape, Bruni), 23 gns. 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 8 (as Seascape), $5. Provenance: Not known.

254. GRAY MORNING c1965–66

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery Hamilton Victoria, No 8 (as Rough Sea, East Coast), $50. Provenance: Not known.

255. ROUGH SEA, EAST COAST c1965–66

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery Hamilton Victoria, No 7 (as Gray Morning), $55. Provenance: Not known.

256. GREY DAY AT DELORAINE c1965 35 43.7cm signed× lower right

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 10 (as Grey Day near De- loraine), 18 gns. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 36 (as Grey Day at Deloraine, dated as c1965, (illust.), private collection). Provenance: Private collection.

257. COUNTRY NEAR DELORAINE 1965 34.5 43.5cm signed× lower right

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today Adult Education Board Southern Series Launceston, No 16 (as Landscape near Delo- raine), 30 gns.

96 Possibly November 1965 Exhibition of Paintings. Harry Buckie and Elspeth Vaughan Lloyd Jones Art Gallery Hobart, No 3 (as Deloraine Countryside), 18 gns 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 37 (as Country near Deloraine, dated as 1965, inscribed with title on backing board, collection Mrs L C Viney). Provenance: Mrs L C Viney - Not known.

258. POPLAR IN WINTER 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 4 (as Poplar in Winter), 23 gns Provenance: Not known.

259. AFTERNOON, RALPH’S bay 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 5 (as Afternoon, Ralph’s Bay), 20 gns Provenance: Not known.

260. GATE AT HUTTON PARK 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 6 (as Afternoon, Ralph’s Bay), 20 gns Provenance: Not known.

261. TREE AND BUSH 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 7 (as Tree and Bush), 23 gns Provenance: Not known.

262. THE ASH TREE, BUSHY PARK 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 8 (as The Ash Tree, Bushy Park), 20 gns Provenance: Not known.

263. POPLAR, DELORAINE COUNTRYSIDE 1965

97 Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 9 (as Poplar, Deloraine Countryside), 20 gns Provenance: Not known.

264. CARLTON BEACH 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 13 (as Carlton Beach), 20 gns Provenance: Not known.

265. MORNING LIGHT 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 11 (as Morning Light), 18 gns Provenance: Not known.

266. LONELY TREE 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 12 (as Lonely Tree), 18 gns Provenance: Not known.

267. GREY DAY AT RALPH’S BAY 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 15 (as Grey Day at Ralph’s Bay), 20 gns Provenance: Not known.

268. WILLOW TREE IN WINTER 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 16 (as Willow Tree in Win- ter), 18 gns Provenance: Not known.

269. LAGOON, EAST COAST before 1966

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery Hamilton Victoria, No 11 (as Lagoon, East Coast), $50. Provenance: Not known.

98 270. HARMONY IN GREY 1966–67 34 46.5 cm (sight) signed× lower right ‘Harry Buckie’

Two tall dead gums dominate the foreground, with the sea behind. The washes for the sea and the waves are done with care and to good effect. Verso, on the backing, [printed in Buckie’s hand] ‘No 3 “HARMONY IN GREY” / Harry Buckie / 2 409 Sandy Bay Rd., / Sandy Bay. 7005.’, also ‘$[blacked out] RE- SERVE $[blacked| out]’. Decimal currency was introduced in February 1966, and Buckie moved to this address also in 1966 [?]. Some stiffness in the brush- work suggests that this was painted after Parkinson’s disease began affecting Buckie’s work in the late 1970s [10]. The opening in the original mount was unnecessarily small and was enlarged 15mm on all four sides and the painting repositioned in 2004. Buckie had signed the painting twice, one signature being hidden by the original mounting. Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 9 (as Harmony in Grey), $55. Possibly May–June 1976 AST 92nd annual exhibition Hobart, No 10 (as The Two Gums), $75. Provenance: Not known - Bathurst Antiques - 2004 Private collection, Ho- bart.

271. TWO GUMS see catalogue number 270 on page 99

Exhibitions: May–June 1976 AST 92nd annual exhibition Hobart, No 10 (as The Two Gums), $75.

272. NEAR PORT SORELL before 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 13 (as Near Port Sorell), $55. Provenance: Not known.

273. UNIVERSITY, SANDY BAY after 1965 unsigned

A view of the Sandy Bay Campus from above, looking to the bridge. Possibly the bridge has been shown after repair from its 1972 collapse (the evidence of the painting is indecisive). The painting is only known from a photograph in the possession of a member of the artist’s family t[10]. Provenance: Not known.

274. DERWENT SCENE 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El- speth Vaughan Lloyd Jones Art Gallery Hobart, No 17 (as Derwent scene), 18 gns

99 Provenance: Not known.

275. OLD TREE, OLD HOUSE 1965–66

Exhibitions: 3rd–15th May 1966 AST 82nd Annual Exhibition Hobart, No 5 (as Old Tree, Old House), $45. Provenance: Not known.

276. SANDY BAY before 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 14 (as Sandy Bay), $55. December 1972 The Tasmanian Landscape, No 7 (as Sandy Bay), $60. Provenance: Not known.

277. possibly LOW TIDE AT CAMBRIDGE c1966 34 39.5 cm (sight) signed lower right ‘Harry Buckie’ ×

The view is across a bay, under grey clouds. The calm water reflects clouds and the hills on the horizon. This is a good example of the artist’s later work. Verso, on the backing upper right ‘45 dollars [in black, crossed out] / [in blue biro] 40’. Decimal currency was introduced in February 1966. Forty-five dollars was the price Buckie asked for other paintings in 1966. At this time he often painted in company with Max Angus and the Sunday Group in the coastal areas near Hobart. The influence of Angus is obvious in this particularly good example of Buckie’s later work [10]. Exhibitions: Possibly 3rd–15th May 1966 AST 82nd Annual Exhibition Ho- bart, No 6 (as Low Tide at Cambridge), $45. Provenance: Not known - Bathurst Antiques - 2004 Private collection, Ho- bart.

278. EAST COAST, NEAR BINNALONG BAY 1965–66 35 48 cm (sight) signed× lower right ‘Harry Buckie’ in original mount and framing

An atmospheric view of the waters offTasmania’s East Coast on a day with white clouds and a light sea mist. Buckie’s treatment of the seascape illustrates the beginning of his transition from his earlier Cotman-like technique to the Angus-inspired communal style of the ‘Sunday Painters’ group. Verso [in the artist’s hand] ‘EAST COAST, NEAR BINNALONG BAY’ / $50.00 / Harry Buckie, / 409 Sandy Bay Rd, / Sandy Bay 7005’. Decimal currency was introduced in February 1966, and Buckie’s paintings were all priced at $55 in the 1967 Don Camillo exhibition. Thus if the notes verso refer to a Don Camillo hanging it could only have been in 1966, suggesting that the work was painted in the summer of 1965–66. Other than annual Art Society of Tasmania showings, these exhibitions at the Don Camillo of works painted by the five members (Max Angas, Roy Cox,

100 Patricia Giles, Elspeth Vaughan, and Buckie) of the ‘Sunday Painters’ on their regular Sunday excursions were Buckie’s main outlet. There is no record of this work at the Art Society exhibitions, and it is of an area popular with the group, leading to the liklihood that it was indeed shown at the Don Camillo restaurant. Exhibitions: Possibly 1966 Five Hobart Painters Don Camillo Restaurant Hobart, (as East Coast, Near Binnalong Bay), $50. Provenance: Not known - 29 August 2009 Gowans’ Antique Auction, Hobart, lot 168 - 2008 Private collection, Hobart.

279. NEAR CONNINGHAM 1966–67

Exhibitions: 2nd–14th May 1967 AST 83rd Annual Exhibition Hobart, No 5 (as Near Conningham), $60. Provenance: Not known.

280. RALPHS BAY 1966–67

Exhibitions: 2nd–14th May 1967 AST 83rd AST Annual Exhibition Hobart, No 6 (as Ralphs Bay), $55. 1971 87th Annual Exhibition Hobart, No 14 (as Ralphs Bay), $58. Provenance: Not known.

281. SOUTH BRUNY HEADLANDS before 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 10 (as South Bruny Headlands), $55. Provenance: Not known.

282. LANDSCAPE AFTER FIRE 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 11 (as Landscape after Fire), $55. Provenance: Not known.

283. COUNTRYSIDE, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 21 (as Countryside, Nepal), $55. Provenance: Not known.

284. LAKE PHEWA, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 22 (as Lake Phewa, Nepal), $60. Provenance: Not known.

101 285. SKETCH FOR ‘Mt MACHHAPUCHLARE’, NEPAL 1968

Exhibitions: 26th October–15th November1968 Saddler’s Court Gallery Rich- mond, No 20 (as Mt Machhapuchlare, - Nepal), NFS. 15th–27th April 1969 AST 85th Annual Exhibition Hobart, No 5 (as Sketch for ’Mt Machhapuchlare’, Nepal), NFS. Provenance: Not known.

286. Mt MACHHAPUCHLARE AT POKHARA, NEPAL 1968 37 48.5cm signed× lower right

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 23 (as Mt Machhapuchlare, at Pokhara), $63. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 38 (as Mt Machhapuchlare at Pokhara, Nepal, dated as 1968, inscribed with title on backing board, collection Mrs J Spark). Provenance: Mrs J Spark - Not known.

287. MOUNTAINS AND TERRACES, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 25 (as Mountains and terraces, Nepal), $55. Provenance: Not known.

288. DWELLINGS IN KATHMANDU, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 24 (as Dwellings in Kathmandu, Nepal, $63. Provenance: Not known.

289. NEPALI OR KATHMANDU HOUSE 1968 36 46 cm signed× lower right

Exhibitions: Possibly 26th October–15 November 1968 Saddler’s Court Gallery Richmond, No 35 (as Typical Farm House. Nepal $63. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 39 (as Nepali or Kathmandu house, dated as 1968, collection Noel R Kemp). Provenance: Noel R Kemp - Not known.

290. THE MEKONG RIVER, CAMBODIA 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 34 (as The Mekong River, Cambodia), $55. Provenance: Not known.

102 291. ENTRANCE TO ANGKOR WAT 1968 signed lower left ‘Harry Buckie 1968’ inscribed lower right ‘ENTRANCE TO ANGKOR WAT CAMBODIA’

Provenance: Family of the artist.

292. ANGKOR WAT 1968 signed lower right ‘HARRY BUCKIE 1968’ / ‘ANGKOR WAT CAMBODIA’

Provenance: Family of the artist.

293. GATEWAY TO ANGKOR WAT 1968

Exhibitions: 26th October–18th November 1979 AST Spring Exhibition Ho- bart, No 3 (as Gateway to Angkor Wat), NFS. Provenance: Not known.

294. TEMPLE RUINS, THAILAND 1968 48 36 cm signed× lower right

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 32 (as Temple Ruins, Thailand), $63. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 40 (as Temple Ruins, Thailand, dated as 1968, inscribed with title on backing board, collection Mrs E B Gray). Provenance: Mrs EB Gray.

295. FLAME TREE AND RUINS, THAILAND 1968 signed ‘Harry Buckie’ and inscribed ‘THAILAND ’68’ lower right

Ruins of Wat Phra Ram at Ayutthaya. Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 33 (as Flame Tree and Ruins, Thailand), $60. Provenance: In artist’s family.

296. THE LITTLE CHINESE TEMPLE, THAILAND 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 29 (as The Little Chinese Temple, Thailand), $55. Provenance: Not known.

297. COUNTRY ROAD, THAILAND 1968

103 Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 30 (as Country Road, Thailand), $60. Provenance: Not known.

298. BANANA AND LOTUS LILLYS [sic] / BANGKOK 1968 signed lower right ‘Harry Buckie 1968’ / ‘BANANA AND LOTUS LILLYS [sic] / BANGKOK 1968’

Provenance: Family of the artist.

299. BANGKOK SCENE 1968 signed lower left ‘Harry Buckie’

Provenance: Family of the artist.

300. HOUSES ON THE RIVER KWAI, THAILAND 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 31 (as Houses on the River Kwai, Thailand), $10055. Provenance: Not known.

301. OFF SHORE AT MALACCA 1968

Exhibitions: 28th May–10th June 1968 AST 84th Annual Exhibition Hobart, No 12 (as OffShore at Malacca), $45. Provenance: Not known.

302. THE PENANG RIVER, MALAYSIA 1968

Exhibitions: 26th October–15th November1968 Saddler’s Court Gallery Rich- mond, No 19 (as The Penang River, Malaysia), NFS. 19th –27th february 1980 AST 96th Annual Exhibition Hobart, No 10 (as The Penang River, Malaysia), NFS. Provenance: Not known.

303. IN A MALAY KAMPONG 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 26 (as In a Malay Kampong), $63. Provenance: Not known.

304. HOUSE AMONG THE TREES, MALAYSIA 1968 unsigned

104 Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 28 (as House among the Trees, Malaysia), $60. Provenance: In possession of family.

305. SUNGEI KELATON RIVER, KOTA BHARU 1968 ball-point penand watercolour 23 30.4cm signed× and inscribed with title and date lower right

Exhibitions: 23rd–30th September 1984 Art Acquisitions 1979–84 TMAG, Hobart, No 101 (as Sungei Kelaton River, Kota Bharu). Provenance: 1984 TMAG, presented by Joan Buckie.

306. LOW TIDE AT PENANG, MALAYSIA 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich- mond, No 27 (as Low Tide at Penang, Malaysia), $63. Provenance: Not known.

307. NEAR LUNAWANNA, BRUNI before April 1969

Exhibitions: 15th–27th April 1969 AST 85th Annual Exhibition Hobart, No 6 (as Near Lunawanna, Bruni), $60. Provenance: Not known.

308. TARANA before October 1969

Exhibitions: 3rd October 1969 Art Auction ABC Social Club Salamanca Gallery Hobart, No 72 (as Tarana). Provenance: Not known.

309. ROAD NEAR VALLEYFIELD 1969–70

Exhibitions: 28th April–17th May 1970 86th AST Annual Exhibition Hobart, No 10 (as Road near Valleyfield), $65. Provenance: Not known.

310. EAST COAST ON A GREY DAY 1969–70

Exhibitions: 1970 AST 86th Annual Exhibition Hobart, No 11 (as East Coast on a Grey Day), $60. Provenance: Not known.

105 311. CAPE BERNIER, EAST COAST c1970 36 47.5cm signed× lower left, inscribed with title lower right

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo Restaurant Sandy Bay, No 8 (as Cape Bernier), $60. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 41 (as Cape Bernier, East Coast, dated as c1970, (illust.), collection Mrs D Monk). Provenance: Mrs D Monk - Not known.

312. EAGLEHAWK NECK c1970–71

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo Restaurant Sandy Bay, No 10 (as Eaglehawk Neck), $60. Provenance: Not known.

313. TREES IN SANDOWN PARK c1970–71

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo Restaurant Sandy Bay, No 11 (as Trees in Sandown Park), $60. Provenance: Not known.

314. A HOUSE AT BOTHWELL c1970–71

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo Restaurant Sandy Bay, No 12 (as A House at Bothwell), $60. Provenance: Not known.

315. TOWARDS MARIA ISLAND c1970–71 36.2 47 cm (sight) signed× lower right ’Harry Buckie’ in original mount and framing

A view of Maria Island across Blackman Bay from the Tasmanian mainland near Dunally. This is a fine late work, with its sureness of line defying the shaking intermittently associated with the artist’s infirmity. Verso on the paper support [top, printed, in artist’s hand] ’BLACKMAN BAY / NEAR DUNALLY / TAS’. Verso, attached to the cardboard backing: a request from the Director of the TMAG for loan-paintings for the upcoming September 1981 Harry Buckie Watercolours exhibition; a loan acknowledgement for Towards Maria Island;,a thank-you letter, a TMAG identification slip, an invitation to the Opening of the Exhibition, and an envelope addressed to Mrs. Crocker [sic] from the TMAG with [in cursive, on the outside] ’Harry’s Exhibition’. Clearly the work was originally called Blackman Bay, near Dunally but we have continued to use the equally applicable and better known Towards Maria Island under which it was shown at the TMAG.

106 The annotation on the envelope referred to above indicates that Miss Crocker was on intimate terms with the Buckies. The dating of 1977, from the informa- tion supplied to, and used by, the TMAG, by Miss Crocker would seem to be in error. Buckie’s paintings were increasingly of accessable East Coast scenes during the 1970s as intermittent bouts associated with Parkinson’s disease made painting and travel difficult for the artist. Exhibitions: March 1971 Five Hobart Painters Don Camillo Restaurant Ho- bart, No 9 (as Black Man Bay), $60. 17th–26th October 1974 Australian Watercolour Institute 51st annual exhibi- tion, Sydney, No 23 (as Looking towards Maria Island, Tasmania), $70. 8–27 September 1981 Harry Buckie Watercolours, TMAG Hobart, No 45 (as Towards Maria Island, dated as c1977, collection Margaret Crocker). Provenance: Miss Margaret Amy Crocker, Dynnyrne - 2008 Private collec- tion, Hobart.

316. BLACK MAN BAY see catalogue number 315 on page 106

Exhibitions: March 1971 Five Hobart Painters Don Camillo Restaurant Ho- bart, No 9 (as Black Man Bay), $60.

Plate Towards Maria Island (c1970–71)

317. ROCK FORMATION WESTERN SHORE 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 33 (as Rock Formation Western Shore, NFS. Provenance: Not known.

318. VIEW TO BUCKIE’S BONNET 1971 signed lower right

Provenance: Family of the artist.

319. THE BONNET I 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 34 (as The Bonnett I, $62. Provenance: Not known.

320. THE BONNET II (Harry Buckie’s Bonnet, Lake Pedder) 1971 36.5 48 cm signed× lower right

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 35 (as The Bonnett II, $62.

107 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 42 (as The Bonnet II, dated as 1971, inscribed with title on backing board, collection Mrs J Spark). Provenance: Mrs J Spark - Not known.

321. CLOUD OVER THE FRANKLANDS 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 37 (as Cloud over the Franklands, $60. Provenance: Not known.

322. CLOUD LIFTING OFF THE FRANKLANDS 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 38 (as Cloud lifting offthe Franklands, $62. Provenance: Not known.

323. EASTERN END FRANKLAND RANGE 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 39 (as Cloud over the Franklands, $60. Provenance: Not known.

324. THE BEACH AND CORONETS 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 40 (as The Beach and Coronets, $62. Provenance: Not known.

325. THE FRANKLAND RANGE 1971 35.5 48 cm signed× lower right

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court Gallery Richmond, No 36 (as The Frankland Range, $62. 1977 Lake Pedder 1971 Exhibition TMAG Hobart. 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 43 (as The Frankland Range, dated as 1971, collection Mrs M Buckie). Provenance: Mrs M Buckie - Not known.

326. THE CORONETS AND Mt. WEDGE before December 1972

Exhibitions: December 1972 The Tasmanian Landscape, No 5 (as The Coro- nets and Mt. Wedge), $50. Provenance: Not known.

108 327. LAKE PEDDER c1973 37 49 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 44 (as Lake Pedder, dated as c1973, inscribed with title on backing board, collection S Menzies). Provenance: S Menzies - Not known.

328. EAST COAST 1971–72

Exhibitions: 1972 AST 88th Annual Exhibition Hobart, No 11 (as East Coast), $62. Provenance: Not known.

329. Mt STREZLECKI, FLINDERS ISLAND 1972–73

Exhibitions: 1973 AST 89th Annual Exhibition Hobart, No 13 (as Mt Stre- zlecki, Flinders Island), $68. Provenance: Not known.

330. STREZLECKI PARK, FLINDERS ISLAND 1972–73

Exhibitions: 14th–28th September 1973 50th Annual Exhibition Australian Watercolour Institute 50th annual exhibition, Farmer’s Blaxland Galleries Syd- ney, No 24 (as Strezlecki Park, Flinders Island), $65. Provenance: Not known.

331. NEAR MARION BAY 1973–74

Exhibitions: 1974 AST 90th Annual Exhibition Hobart, No 9 (as Near Marion Bay), $68. Provenance: Not known.

332. PROSSER BAY 1974–75

Exhibitions: 8th–23rd April 1975 AST 91st Annual Exhibition Hobart, No 9 (as Prosser Bay), $70. Provenance: Not known.

333. RACING CLOUDS 1976–77

Exhibitions: 7th–19th June 1977 AST 93rd Annual Exhibition Hobart, No 8 (as Racing Clouds), $70. Provenance: Not known.

109 334. STUDY IN GREY 1976–77

Exhibitions: 7th–19th June 1977 AST 93rd Annual Exhibition Hobart, No 9 (as Study in Grey), $60. Provenance: Not known.

335. LOW TIDE AT HOWDEN 1977 25.5 34 cm signed× lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 46 (as Low Tide at Howden, dated as 1977, collection Mrs S Web- ster). Provenance: Mrs S Webster - Not known.

336. GREY LANDSCAPE 1978–79

Exhibitions: 20th–28th February 1979 AST 95th Annual Exhibition Hobart, No 7 (as Grey Landscape), $75. Provenance: Not known.

337. GUM TREES late 1970s 26.6 37 cm (sight) signed× lower right ’Harry Buckie’

A sad work from the very end of Harry Buckie’s career. It marks a late stage of his struggle with Parkinson’s disease. It does little justice to the glorious watercolours which had flowed from the artist’s brush since the 1920s. The composition is clumsy, the washes have grown coarse, and cloisonnist outlining has appeared. The signature may not even have been written by Harry, possibly his wife helped. Provenance: Miss Margaret Amy Crocker - 20 August 2008, Andrew Wright Auction, Hobart, lot 160 - 2008 Private collection, Hobart.

338. BOATS AT ANCHOR after 1977 26.6 37 cm (sight) signed× lower right ’Harry Buckie’

An elegant small wash sketch, with no pencil outlining. The technique is unusual for Buckie. A fine draughtsman, forced to yield as Parkinson’s disease took hold, Buckie was still able to paint a small atmospheric gem. Only a little cloisonnist outlining in the immediate foreground hints at his struggle with the disease. The paper of the support has an unusual texture. The signature is laboured, unlike the confident ’Harry Buckie’ of earlier times. Provenance: Miss Margaret Amy Crocker - 2008 Private collection, Hobart.

Plate Boats at Anchor

110 339. FROM THE MOUNTAIN before 1970

Exhibitions: c1970 Australia Junior Chamber of Commerce Community Art Exhibition Hobart, No 4 (as From the Mountain), $60. Provenance: Not known.

340. RIVER MOUTH, EAST COAST

Exhibitions: 7th May 1980 Water Colours by Tasmanian Artists Art Cen- tre Galleries (Cottage Tea Rooms, Richmond 23rd April) 85 Elizabeth Street Hobart, No 21 (as River Mouth East Coast), $50. Provenance: Not known.

341. IN RICHMOND

Exhibitions: 7th May 1980 Water Colours by Tasmanian Artists Art Cen- tre Galleries (Cottage Tea Rooms, Richmond 23rd April) 85 Elizabeth Street Hobart, No 22 (as In Richmond), $55. Provenance: Not known.

342. RICHMOND LANDSCAPE

Exhibitions: Untitled exhibition, No 70 (as Richmond landscape), $55. Provenance: Not known.

343. LANDSCAPE, MARION BAY

Exhibitions: Untitled exhibition, No 71 (as Landscape, Marion Bay), $55. Provenance: Not known.

344. LANDSCAPE signed lower right ‘Harry Buckie’

A small watercolour of tree and scrub with cloud over low background hills, possibly the last work painted by Buckie. Provenance: Family of the artist.

345. NEAR SWANSEA, EAST COAST OF TASMANIA 29 40 cm signed× lower right

Inscribed with title verso. Exhibitions: 23rd–30th September 1984 Art Acquisitions 1979–84 TMAG, Hobart, No 100 (as Near Swansea, East Coast of Tasmania). Provenance: 1984 TMAG, presented by Joan Buckie.

111 346. PARLIAMENT BUILDINGS, HOBART 31.5 41.8cm signed× lower left

Exhibitions: August–October 1988 Art Acquisitions 1984–88 TMAG, Hobart, No 62 (as Parliament Buildings, Hobart). Provenance: 6th July 1985 TMAG, purchased auction Freeman Duff, lot 211.

112 Bibliography

[1] Row, Don & Row, Maggie. (2009) Edith Holmes 1893–1973; a Catalogue Raisonn´e. Matroid Publications, Hobart.

[2] Row, Don & Row, Maggie. (2010) Fifty Years of Painting in Tasmania 1925- 1975. Matroid Publications, Hobart.

[3] Backhouse, Sue. (1988) Tasmanian Artists of the Twentieth Century 1900-1985. Pandani Press, Hobart.

[4] McCulloch, Alan and McCulloch, Susan. (1994) The Encyclopedia of Australian Art. Allen and Unwin, St. Leonards NSW.

[5] Kerr, Joan. (1992) Dictionary of Australian Artists: Painters, Sketchers, Pho- tographers and Engravers to 1870. OUP, Melbourne, Victoria.

[6] Catalogues. (various years) The Art Society of Tasmania, Annual Exhibitions. Tasmaniana Collection, State Library, Hobart.

[7] Catalogues. (various years) The Launceston Art Society, Annual Exhibitions. Tasmaniana Collection, State Library, Hobart.

[8] Catalogues. (various years) The Tasmanian Group of Painters, Annual Exhibi- tions, various years. Tasmaniana Collection, State Library, Hobart.

[9] Catalogues. (various years) TMAG Exhibitions, various years. Tasmaniana Col- lection, State Library, Hobart.

[10] Buckie, Joan. (23rd August 2005) Private conversation. Hobart.

[11] Scott, Patricia. (23rd August 2005 & 11 November 2008) Private conversations. Hobart.

[12] Row, Maggie. (13 Dec 2005). Notes of a conversation with Patricia Giles.

[13] Kolenberg, Hendrik. (1981) Catalogue, Harry Buckie Watercolours, Tasmanian Museum and Art Gallery, 8-27 September 1981. Tasmanian Museum and Art Gallery, Hobart.

[14] Hope-Johnstone, Ralph. (1981) Speech, opening the Harrie Buckie Water- colours Exhibition, Tasmanian Museum and Art Gallery, 8-27 September 1981. Speaker’s notes.

[15] Angus, Max. (1981) Introduction, Catalogue to the Harry Buckie Watercolours Exhibition, Tasmanian Museum and Art Gallery, 8-27 September 1981. Tasma- nian Museum and Art Gallery, Hobart.

[16] Chapman, Barbara. (1982) Catalogue, GeoffTyson; watercolours 1936 - 1980, Queen Victoria Museum and Art Gallery, 30 January - 13 March 1982. Queen Victoria Museum and Art Gallery, Launceston.

113 [17] Catalogue. (19 November 1971) Lake Pedder 1971, Saddler’s Court Gallery, Richmond. The Tasmaniana collection, State Library, Hobart. [18] Catalogue. (April 1973) Patricia Giles, Saddler’s Court Gallery, Richmond. The Tasmaniana collection, State Library, Hobart. [19] Catalogue. (21 November to 5 December 1984) Patricia Giles, Exhibition of Paintings, Salamanca Place gallery, Hobart. The Tasmaniana Collection, Archives of Tasmania. State Library, Hobart. [20] Catalogue. (December 1990) Patricia Giles’ Landscapes, flowers and portraits in watercolour and oils, Thursday 13 to Monday 24 December 1990, Dick Bett Gallery, Hobart. The Tasmaniana Collection, State Library, Hobart. [21] Catalogue. (May 1980) Art Centre Gallery. Tasmaniana Collection, State Li- brary, Hobart. [22] Bryce, David J. (1997) Pubs in Hobart from 1807. The University of Tasmania, Hobart. [23] Allport, Henry. (undated) Handwritten notes. Allport Museum, Hobart. [24] Stone, Carolyn R and Tyson, Pamela. (1978). Old Hobart Town and Environs 1802-1855. Pioneer Design Studio, Lilydale, Victoria. [25] Pickett, Kaye. (1986) Catalogue: Important Fine Art Auction, Friday May 30, 1986. Tulloch’s Auctions, Launceston TAS. [26] Catalogue. (1995) Special Antique Auction, Saturday August 26, 1995. Armitage Auctions, Launceston Tasmania. [27] (2005) The Salamanca Collection: and private notes. Hobart, Tasmania. [28] (2002) The Mercury newspaper, page 8, 21 December. Hobart. [29] (1979) The Mercury newspaper, page 5,Thefirst40 years of Max Angus. 26 September. Hobart. [30] Catalogue. (2005 )Masterpiece Fine Art Gallery Hobart. [31] Scene at Bright. Tasmanian Museum and Art Gallery, Hobart. [32] Private collection. Hobart, Tasmania. [33] Tasmanian Museum and Art Gallery collection. Hobart, Tasmania. [34] ed. Smith, Bernard. (1979) Documents on Art and Taste in Australia. Oxford University Press, London. [35] de Teliga, Stan. (1956) A Catalogue of Australian Paintings and Drawings in the Tasmanian Art Gallery. Tasmanian Museum and Art Gallery, Hobart TAS. [36] (1985) The Art Bulletin of Tasmania. Tasmanian Museum and Art Gallery, Hobart. [37] Chapman, Barbara. (1984) Catalogue of Oil Paintings. Queen Victoria Museum and Art Gallery, Launceston. [38] Electoral Rolls, various. [39] Catalogue. (December 1971 - January 1972) Patricia Giles, Don Camillo Restaurant, Hobart.

114 Index

aboriginal carvings, Tasmania B, 76 bridge at Kingston-on-Thames B, 51 Acropolis B, 75 Bruni B, 105 across the Derwent B, 83 Bruny Island B, 101 across the river B, 84 building B, 52 after the rain B, 95 Burdekin River B, 51 afternoon light B, 73 burnt trees B, 74 afternoon Ralph’s Bay B, 97 bush B, 82 All Saints B, 56 bush at Chauncy Vale B, 66 Alma Doepel B, 55 Bushy Park B, 97 Angkor Wat B, 103 Angkor Wat B, 103 calm evening B, 94 Arve River B, 96 Cambodia B, 102, 103 ash tree Bushy Park B, 97 Cambridge B, 100 at Bicheno B, 89 Campania B, 92 at Rokeby B, 91 Campbell Town B, 69 Austin’s Ferry B, 62 canal entrance, Dunalley B, 69 autumn at New Norfolk B, 93 Cape Bernier B, 106 Ayers Rock B, 86 Carlton Beach B, 98 Cascades B, 58 backyard, Okehampton B, 59 Central Australia B, 86–88, 91 banana B, 104 ceremonial rock and palm paddock B, Bangkok B, 104 86 barge B, 66, 72 channel B, 60 barge Enterprise B, 77 Chauncy Vale B, 66 barges B, 52 cloud lifting offthe Franklands B, 108 barn B, 60, 65, 70, 85 cloud over Mt Anne B, 78 barn at Coswell B, 81 cloud over the Franklands B, 108 beach and Coronets B, 108 clouds, racing B, 109 Bicheno B, 59, 60, 75, 89 coast near Dunalley B, 93 Binnalong Bay B, 100 Cole’s Bay B, 54 Black Man Bay B, 107 Colliboi B, 76 black rock Swansea B, 83 Conningham B, 101 Blackman Bay B, 106 Coronation Peak B, 77 bluff B, 63 Coronets and Mt Wedge B, 108 Boat Harbour B, 85 Coswell B, 81 boats at anchor B, 110 country near Deloraine B, 96 boats at Port Adelaide B, 70 country road Thailand B, 103 boats at Sandy Bay B, 64 countryside Nepal B, 101 boats at Wynyard B, 89 Cradle Mountain B, 74 bonnet I B, 107 creek B, 92 bonnet II B, 107 creek in flood B, 92 book cover, 81 crusher B, 54 book cover B, 90, 91, 93 Bothwell B, 106 dead tree pattern B, 80

115 Deloraine B, 94, 96, 97 glimpse of Old Beach B, 65 demolishing B, 52 granite hill and button grass B, 62 derelict B, 95 gray morning B, 96 Derwent B, 83 Gray’s barn B, 65 Derwent River B, 51 green field B, 79 Derwent from Taroona heights B, 82 greenlees B, 79 Derwent scene B, 99 grey and green Meredith River B, 82 Derwent Valley B, 76 grey and yellow B, 56 dinghy B, 79, 91 grey barge B, 52 dock scene B, 73 grey day B, 54 Dodge’s Ferry beach B, 62 grey day at Deloraine B, 96 Domain B, 94 grey day at Ralph’s Bay B, 98 Domain slips - ‘Alma Doepel’ B, 55 grey day in the bush B, 73 down Elphinstone Road B, 65 grey landscape B, 110 dry country B, 95 grey morning East Coast B, 79 dry paddock B, 63 grey skies B, 90 Dunalley B, 69, 93 grey, study B, 110 dwellings in Kathmandu Nepal B, 102 gum tree and barn B, 85 gum trees B, 110 Eaglehawk Neck B, 106 gum trees near Oatlands B, 66 early morning B, 58 gums in sunlight B, 73 early morning Tamar River B, 92 gums on the Domain B, 94 East Coast B, 79, 84, 96, 98, 106, 109, Gunner’s Quoin B, 91 111 East Coast near Binnalong Bay B, 100 Hamilton B, 73 East Coast on a grey day B, 105 Hamilton from Prospect Hill B, 93 eastern end Frankland range B, 108 harmony in grey B, 99 elms B, 55 headland Carlton B, 95 elms, morning B, 55 Hobart B, 52–54, 56, 57, 61, 63–65, 68, Enterprise B, 66, 77 70, 72, 75, 86, 94, 112 entrance to Angkor Wat B, 103 hopfields, Derwent Valley B, 76 erosion and trees B, 90 hot day B, 73 house among the trees Malaysia B, 104 farm waggon B, 69 house at Bothwell B, 106 Federation Peak B, 67 houses in Macquarie Street B, 56 Finke River bed central Australia B, houses on the River Kwai Thailand B, 87 104 Finke River gum B, 87 Howden B, 110 fishermens’ shacks, Bicheno B, 75 Huon Chief B, 55 fishing B, 58 Hutton Park B, 97 fishing boy B, 66 idle hour B, 58 flame tree and ruins Thailand B, 103 in a Malay kampong B, 104 Flinders Island B, 109 in Richmond B, 111 Frankland Range B, 108 in Salamanca Place B, 83 Franklands B, 78 inside Waverley B, 71 from Redchapel Beach B, 57 interior B, 61 from the mountain B, 111 isolated mountain and Mt Anne B, 81 fruit packing shed B, 56 Jordan River B, 68 gate at Hutton Park B, 97 gate to Okehampton B, 59 Knocklofty B, 61 gateway to Angkor Wat B, 103 gidgee tree central Australia B, 86 L.F.B. 699 B, 57 glimpse of Lake Pedder B, 77 lagoon B, 98 glimpse of Mt Owen B, 74 Lake King William B, 84

116 Lake Nicholls B, 95 Mt Owen B, 74 Lake Pedder B, 77–79, 81, 107–109 Mt Solitary B, 77 Lake Pedder beach B, 77, 81 Mt Solitary from Lake Pedder Camp Lake Pedder, east B, 84 B, 81 Lake Pedder, west B, 84 Mt Solitary south west Tasmania B, Lake Phewa B, 101 81 Lake Tahune B, 75 Mt Solitary towards sunset B, 81 Landscape B, 111 Mt Strezlecki B, 109 landscape B, 62, 91, 92 Mt Undoolya central Australia B, 87 landscape near Deloraine B, 94 Mt Wedge B, 78 landscape after fire B, 101 Mt. Anne B, 73 landscape after rain B, 89 mulga scrub, Northern Territory B, 88 last of the barges B, 72 Leven, Ulverstone B, 69 near Austin’s Ferry B, 62 little Chinese temple Thailand B, 103 near Conningham B, 101 little ghost gum B, 88 near Deloraine B, 94, 96 London B, 51 near Low Head B, 94 lonely dinghy B, 91 near Lunawanna B, 105 lonely tree B, 98 near Marion Bay B, 109 Low Head B, 94 near Port Sorell B, 99 low tide B, 74 near Swansea B, 111 low tide at Cambridge B, 100 near the Cascades B, 58 low tide at Howden B, 110 near Wilmot harbour B, 69 low tide at Penang Malaysia B, 105 Nepal B, 101, 102 low tide at Stanley B, 89 Nepali or Kathmandu house B, 102 low tide Swansea B, 80 New Norfolk B, 56, 93 Lunawanna jetty B, 73 New Norfolk from Peppermint Hill B, 91 Malacca B, 104 New Town B, 56, 62 Malaysia B, 104, 105 Malaysia B, 105 Oatlands B, 58, 66, 74 Maria Island B, 74, 106 Oatlands from Mt Burbury B, 90 Marion Bay B, 109, 111 offshore at Malacca B, 104 Marion Bay beach B, 83 Okehampton B, 59 Mekong River B, 102 Okehampton house B, 66 Meredith River B, 82 Okehampton kitchen B, 61 Merideth River B, 78 Okehampton landscape B, 66 midland pastures B, 65 old barn B, 70 mist over the sea B, 95 Old Beach B, 65 Mole Creek B, 70 old building, Campbell Town B, 69 Montpelier Retreat B, 70 old buildings, Hamilton B, 73 morning B, 57 old cottage near Oatlands B, 74 morning light B, 98 old Hobart B, 61 mountain B, 65 old mill, Gore Street B, 53, 54 mountain tops from Lake Tahune B, old quarry B, 61 75 old stone, Okehampton B, 59 mountains and terraces Nepal B, 102 old tree, old house B, 100 mountains of the South-West B, 68 old willow B, 64 Mt Anne B, 78 on the slips B, 52 Mt Direction B, 59 Orford B, 70 Mt Direction from Risdon B, 54 Oyster Bay B, 79 Mt Direction from the Domain B, 86 Mt Dove B, 54 Palmer River B, 87 Mt Dromedary B, 84 parliament buildings B, 112 Mt Machhapuchlare B, 102 passing cloud B, 90

117 Penang River B, 104 sawdust and spire B, 58 Peter and Paul B, 79 Schouten Island B, 75 pine B, 55 sea piece B, 79 Pittwater B, 90 Seaford B, 93 poplar Deloraine B, 97 seascape, Bruni B, 96 poplar in winter B, 97 she oak by the shore B, 95 Port Adelaide B, 70 sheds B, 55 Port Sorell B, 99 Sheffield B, 74 portion of Lake Pedder B, 78 ship in port B, 82 portrait of a dinghy B, 79 ship moored Sydney B, 51 promise of rain B, 92 ships and landscape B, 64 Prosser Bay B, 109 ships in port B, 72 silver light B, 88 quartzite rocks, Lake Pedder B, 79 Simpson’s Gap B, 87 quiet moorings B, 76 sketch for Mt Machhapuchlare B, 102 quiet morning B, 86 slipyard B, 57 quiet street, New Town B, 56 slipyards B, 55 slipyards, Sandy Bay B, 55 racing clouds B, 109 south Bruny headlands B, 101 rain over Maria Island B, 74 St Johns New Town B, 62 rain passing from the Franklands B, 78 stables at Waverley B, 71 Ralph’s Bay B, 97, 98 Stanley B, 89 Ralphs Bay B, 101 storm approaching Pittwater B, 90 red bank and desert oak, Palmer River Strezlecki Park B, 109 B, 87 study in grey B, 110 red boats B, 76 sunburnt country B, 64 red house B, 57 Sungei Kelaton River B, 105 red track Swansea B, 84 sunny morning B, 56 red tramp on the Yarra B, 85 Swansea B, 63, 75, 77, 80, 83, 84, 111 Redbanks B, 75 Swansea and Schouten Main B, 81 Redchapel Beach B, 57 Swansea landscape B, 76 reflections B, 51, 65 Sydney B, 51 repairs to Huon Chief B, 55 Richmond B, 111 tall gum B, 70 Richmond landscape B, 111 tall trees, near Sheffield B, 74 ring barked tree B, 94 Tamar River B, 92 Risdon B, 54 Tarana B, 105 river bank, Swansea B, 77 Tasmanian valley B, 69 river mouth East Coast B, 111 temple ruins B, 103 river reflections B, 92 Thailand B, 103, 104 river scene B, 64 to Hobart B, 56 road near Valleyfield B, 105 towards Maria Island B, 106 road to the farm B, 58 tramps on the Yarra B, 85 rock formation western shore B, 107 tranquil morning B, 62 rock pool B, 89 tree and bush B, 97 rock study B, 60 tree contrasts B, 76 rocks B, 65 trees B, 61 rocks at Swansea B, 83 trees at Orford B, 70 Rokeby B, 91 trees by the sea B, 85 rough sea B, 96 trees in Sandown Park B, 106 two gates B, 85 Salamanca Place B, 83 two gums B, 99 sand dune B, 93 two trees Northern territory B, 91 sandstone B, 57 Sandy Bay B, 64, 100 Ulverstone B, 69

118 university B, 99 up for repairs B, 64

Valleyfield B, 105 verandah at Waverley B, 71 Victoria Dock B, 68 Victoria Dock, Enterprise B, 66 Victoria Street B, 75 view to Buckie’s Bonnet B, 107 village under the cliff B, 69 wartime shipping B, 63 waterfront B, 63 Waverley B, 58, 71 Waverley B, 71 week-end cottage B, 62 white pheasant B, 52 white sands B, 60 white sands at Seaford B, 93 willow B, 94 willow tree in winter B, 98 Wilmot harbour B, 69 winter calm B, 94 womens’ penitentiary B, 57 Woolnorth pastures B, 75 workshop at Waverley’ B, 71 wreck of the Colliboi B, 76 Wynyard B, 85, 89

Yarra B, 85 yellow door B, 91

119