Lot 13

Overall in good condition. The border of the woodcut on the upper edge reveals a printing flaw, inherent to the work. This work has not been examined out of the frame. Overall framed size 31 x 42cm.


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Private collection, South Australia

Water Colours and Woodcuts by E.W. Syme, Athenaeum Gallery, Melbourne, 6-17 March 1928, cat. 50 (another impression)
The Printmakers: Mainly of the Thirties, Important Women Artists [Gallery], Melbourne, 11 September - 30 October 1977, cat. 31 (another impression);
A Selection of Woodcuts and Linocuts by Napier Waller and Other Melbourne Artists, Deutscher Galleries, Melbourne, 18 August - 3 September 1978, no. 40 (illus. exhibition catalogue, another impression)
Watercolours, Drawings, Etchings, Linocuts, Lithographs & Early Australian Prints, Joshua McClelland Print Room, Melbourne, opened 26 February 1993, no. 49 (another impression)
Intrepid Women: Australian Women Artists in Paris 1900-1950, S.H. Ervin Gallery, Sydney, 1 December 2017 - 25 March 2018 (another impression)

Manuscripts: The Book Nook Miscellany, The Book Nook, Geelong, no. 2, June 1932, p. 119 (illus., another impression)
'Exhibition of Linocuts', The Age, Melbourne, 5 May 1936, p. 9
Draffin, N., Australian Woodcuts and Linocuts of the 1920s and 1930s, Sun Academy Series, Melbourne, 1976, pp. 14, 72 (illus. another impression);
Coppel, S., Linocuts of the Machine Age: Claude Flight and the Grosvenor School, Scolar Press in association with the National Gallery of Australia, Aldershot, 1995, p. 189, cat. ESy A/2 (another impresson)
Brown, P. (ed.), Crombie, I. (foreword), Harkness, A. (intro), Grey, A., Jordan, C., Hooper, J. (contrib.), Modern Australian Women Artists: The Andrée Harkness Collection, Amaled, Melbourne, 2020, pp. 182 (illus. another impression), 236

Eveline was an avid traveller, spending copious amounts of time abroad both for leisure and building on her practice. Syme studied at La Grande Chaumiere, France, between 1922-1923. It was during this period that she created The Castle Chapel, Amboise.

We would like to thank John Keats for his kind assistance in cataloguing this work.