Lot 8

The work presents very well at normal viewing, the paint layer appearing in good condition with areas of higher impasto well preserved.

Examination under u.v. light reveals:

– a narrow vertical line of restoration, presumably of a split or fine tear in the canvas, extending about 11cm downwards from the lowest point of the head of the lower owl;

– a margin of later paint extending variously 2.5–3.5cm (irregularly) from the sight edge of the frame around most of the upper half of the work from just above mid-height on the left to the vicinity of the tree tops on the right;

– a similarly wide (but more even) margin of variation around the edges of the lower half of the work, appearing under u.v. light as a bluish cloudiness and apparently in the varnish rather than in the paint layer itself, but with some small areas of later paint within this margin;

– a few scattered small spots of retouching scattered elsewhere.

These areas of restoration and variation are very faintly perceptible at normal viewing (and in the catalogue photos) but not conspicuous at normal viewing, the restoration and retouching being well executed.

The frame (not fully examined) appears to be in generally good condition consistent with age, with typical slight faults, but has been refinished in gold paint.

(In preparing this report the reverse of the canvas has not been inspected, this being concealed within a sheet of corflute plastic affixed to the reverse of the frame.)



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 seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. 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.

William Lynch (1839–1901), solicitor, 'Bombala', Brighton, Melbourne (according to the Table Talk article cited below)
(Presumably) Gemmell, Tuckett, & Co. [etc.], The Collection of the late William Lynch, 'Bombala', Brighton, Melbourne, 14–15 December 1903
Dame Mabel Brookes (1890–1975), Melbourne
Sold from the estate of the above
Private collection, Melbourne
Christies, Australian and European Paintings, Drawings, and Prints, Melbourne, 29 April 1997, lot 143
Leonard Joel, The Sunday Fine Art Auction, Melbourne, 25 March 2012, lot 221, purchased by Terence Lane

Table Talk, 'Mr William Lynch's Private Gallery', 6 February 1891, pp 4–5, referring to works by Dexter in Lynch's collection at 'Bombala' ('The story of the two owls in the "Arabian Nights" is the subject of another fine picture by this artist …')
M. Watson, 'William Dexter – "forget him was impossible"', Art and Australia, 24(3) [Autumn 1987], pp 381–382 (illustrated)