Lot 15

In fair condition consistent with age. Hairline cracks throughout. A very minor pigment loss (pin-sized) seen on the right hand side. Light fly spots and surface dirt as with age. Frame is in good condition, some minor chips.


The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to inspect articles for sale at our pre-sale viewing where Leonard Joel staff are available for advice.
Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

E.R. Trenchard, Melbourne
Thence by descent to R. Trenchard, Melbourne
Deutscher Fine Art, Melbourne
Adam Galleries, Melbourne
Noel Martin, Melbourne
Private collection, Melbourne
Deutscher + Hackett, Sydney, 2 December 2015, lot 116
Private collection, Melbourne

Paintings by Max Meldrum, Athenaeum Art Gallery, Melbourne, 22 July-2 August 1913. cat. no. 82
Nineteenth and Twentieth Century Australian Paintings, Deutscher Fine Art, Melbourne, 28 September-5 November 1978, cat. no. 25 (illus.)
Max Meldrum, Adam Galleries, Melbourne, 1981, cat. no. 5

Kelly, M., Capital & Country: The Federation Years 1900 – 1913, National Gallery of Australia, Canberra, 2013
"By 1910, Max Meldrum had begun to explore his own theories of painting. He had embarked on a selective study of the European realist tradition, ranging from the seventeenth-century figure compositions of Diego Velázquez to the rural landscapes of mid-nineteenth century Barbizon school painter, Camille Corot.
Meldrum established a practice of painting directly from life, with a rapid application of colours and restricted tonal palette. A controversial figure owing to his fiery temper and apparently radical theories, on his return to Melbourne in 1913 Meldrum presented public lectures on these ideas and later established an Australian tonalist school of painting."