Lot 27

Overall very good condition. The tissue does not appear to be discoloured and the pigment remains vivid. The print has been examined outside of its frame and is merely held in place with two pieces of framers tape and is not laid down. Photographs of the print outside its frame are available upon request. Well framed measuring 42 x 33cm.


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Important Women Artists, Jim Alexander Gallery, Melbourne 1977
Private collection, Melbourne

Exhibition of Pictures by the Contemporary Group of Artists, David Jones' Galleries, Sydney, July 1937, no. 93
The Printmakers, Mainly of the Thirties, Important Women Artists, Melbourne, 11 September - 30 October, 1977, cat. 25, (including this example), (as ‘Sydney Tramlines')
Project 24: Cicadas and Gumnuts: The Society of Arts and Crafts 1906-1935, Art Gallery of New South Wales, Sydney, 1 April - 7 May 1978, no. 118, (another example)
A Survey of Australian Relief Prints 1900/1950, Deutsher Galleries, Melbourne, 13 April - 5 May 1978, cat. 180 (illus. exhibition catalogue, another example)
Australian Images: Prints, Drawings and Watercolours from the Collection, Art Gallery of New South Wales, Sydney, 22 December 1979 - 28 January 1980, (no catalogue number), (another example)
Colour linocuts from the Grosvenor School, The Ward Gallery, Sydney, March 1980, no. 50, (another example)
Melbourne Woodcuts and Linocuts of the 1920's and 1930's, Ballarat Fine Art Gallery, Ballarat and touring University Art Museum, Queensland, Newcastle Regional
Gallery, Newcastle, McClelland Gallery, Frankston, Victorian College of the Arts, Melbourne, 1981, (another impression)
Project 39: Women's Imprint, Art Gallery of New South Wales, Sydney, 1-31 October 1982 (another example)
Out of the Book and on the Wall: the Relief Print - Linocuts: Claude Flight and His Circle, Australian National Gallery, Canberra, 20 February - 13 May 1984 (another example)
Harbour Hymns, City Songs: Visions of Sydney from the Collection, Art Gallery of New South Wales, Sydney, 13 January - 11 March 1990, no. 83 (another example)
Claude Flight and His Followers: The Linocut Movement between the Wars, Australian National Gallery, Canberra, 18 April - 12 July 1992; Art Gallery of New South Wales, Sydney, 14 October – 29 November 1992; National Gallery of Victoria, Melbourne, 16 December 1992 - 1 March 1993; National Art Gallery, Wellington, 19 March- 16 May 1993 and Auckland City Art Gallery, Auckland, 3 June - 18 July 1993, cat. 100 (another example)
Australian Prints from the Gallery's Collection, Art Gallery of New South Wales, Sydney, 6 November 1998 - 7 February 1999, cat. 58 (another example)
Modern Australian Women: Paintings and Prints 1925-1945, Art Gallery of South Australia, Adelaide, 24 November 2000 - 25 February 2001, and touring, (another example)
Shooting Through: Sydney by Tram, Museum of Sydney, Sydney, 4 April - 18 October 2009 (another example)
Sydney Moderns: Art for a New World, Art Gallery of New South Wales, Sydney, 6 July - 7 Oct 2013 (another example)
Modern impressions: Australian Prints from the Collection, Art Gallery of New South Wales, Sydney, 2 Sepember 2016 - January 2017 (another example)
Becoming Modern: Australian Women Artists 1920-1950, Art Gallery of Ballarat, Ballarat, 18 May - 4 August 2019 (another example)
Spowers & Syme, A National Gallery of Australia, Canberra travelling exhibition, Canberra Museum and Art Gallery, Canberra, 13 August – 6 October 2021; and touring Brisbane, Dubbo and Victoria until 2022 (illus. exhibition catalogue, another example)

Butler, R., and Deutsher, C., A Survey of Australian Relief Prints 1900/1950, Deutsher Galleries, Melbourne, 1978, pp. 91, 118, cat. 180 (illus. another example)
Project 24: Cicadas and Gumnuts: The Society of Arts and Crafts 1906-1935, Art Gallery of New South Wales, Sydney, 1978, cat. 118 (another example)
De Teliga, J., Australian Images: Prints, Drawings and Watercolours from the Collection, Art Gallery of New South Wales, Sydney, 1979, p. 10 (another example)
Butler, R., Melbourne Woodcuts and Linocuts of the 1920's and 1930's, Ballarat Fine Art Gallery, Ballarat, 1981, unpaginated, pp. 13 (illus. another example), 51 (illus. another example)
Waldman, A., Project 39: Women's Imprint, Art Gallery of New South Wales, Sydney, 1982, no catalogue numbers; not paginated
Coppel, S., ‘Claude Flight and his Australian Pupils', Print Quarterly, Print Quarterly Publications in assoc. J. Paul Getty Trust, London, vol. 2, no. 4, December 1985, pp. 278, 281 (illus. fig. 157, another example)
Vernon, K., Harbour Hymns, City Songs: Visions of Sydney from the Collection, Art Gallery of New South Wales, Sydney, 1990, cat. 83 (another example)
Coppel, S., Claude Flight and His Followers; The Colour Linocut Movement between the Wars, Australian National Gallery, Canberra, , 1992, p. 22 (another example)
Coppel, S., Linocuts of the Machine Age: Claude Flight and the Grosvenor School, Scolar Press, Aldershot, England, in association with the National Gallery of Australia, 1995, pp. 47 (illus. plate 43, another example), 66, 184-185 (illus. another example), cat. ESy 20
Topliss, H., Modernism and Feminism: Australian Women Artists 1900-1940, Craftsman House, Sydney, 1996, pp. 149 (illus. no. 79, another example), 152
Kolenberg, H. and Ryan, A., Australian Prints from the Gallery's Collection, Art Gallery of New South Wales, Sydney, 1998, p. 69, cat. 58 (illus. another example)
Hylton, J., Modern Australian Women: Paintings & Prints 1925-1945, Art Gallery of South Australia, Adelaide, 2000, pp. 57, 81 (illus., another example), 126
Johnson, H., 'We Cannot Cage the Minute: Art Deco Art' in Ferson, M. and Nilsson, M. (eds.), Art Deco in Australia: Sunrise Over the Pacific, Fine Art Publishing, Sydney, 2001, pp. 101, 102 (illus. pl. 117, another example)
Slater, J., Through Artists' Eyes: Australian Suburbs and their Cities 1919-1945, Miegunyah Press, Melbourne, 2004, pp. xi, 25 (illus. no. 13, another example)
Butler, R., Printed: Images by Australian Artists 1885-1955, National Gallery of Australia, Canberra, 2007, p. 200 (illus. another example)
Hull, R. (ed.), Butler-Bowdon, C. and Campbell, A., Shooting Through: Sydney by Tram, Historic Houses Trust of New South Wales, Sydney, 2009, pp. 78, 79 (illus. another example)
Look, Art Gallery of New South Wales, Sydney, September 2012, p. 39 (illus. another example)
Edwards, D., Mimmocchi, D., Sydney Moderns: Art for a New World, Art Gallery of New South Wales, Sydney, Sydney, 2013, pp. 71 (illus. another example), 316
Smith, S., 'Women's work: their diverse and significant contribution to the modernist art scene', Look, Art Gallery of New South Wales, Sydney, August 2013, p. 13 (illus. another example)
McLaren, J. and Tegart, L., Becoming Modern: Australian Women Artists 1920-1950, Art Gallery of Ballarat, Ballarat, 2019, pp. 131, 134, 137 (illus. another example), 174
Stuart, C. and Finucane, P., Odd Roads to be Walking: 156 Women Who Shaped Australian Art, Red Barn, Skibbereen, 2019, p. 138 (illus., another example)
Pryor, S., Making the Cut: Art World's Dynamic Duo, Canberra Times, Australian Community Media, Canberra, 24 July 2021, p. Panorama 6 (illus. another example)
A pair of Melbourne artists from the 1930s are finally getting the recognition they deserve' published 24 July 2021 (accessed 25 July 2021) https://www.canberratimes.com.au/story/7349484/making-the-cut-art-worlds-dynamic-duo/

This print is in the permanent collections of Art Gallery of Ballarat, Ballarat; Art Gallery of New South Wales, Sydney; and National Gallery of Australia, Canberra.

RELATED WORK:
Eveline Syme, The Tram Line 1932, watercolour, Castlemaine Art Gallery and Historical Museum, Castlemaine

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

Eveline Syme was one of the most significant artists associated with the Grosvenor School. The movement, founded by Claude Flight in 1925, was largely based on the idealisation of speed, dynamism and the rejection of the past. It embraced modern life, especially the city and its means of transport and industrialisation. This type of subject matter had barely been touched by women until now. Syme was born in England to Australian parents, grew up in Melbourne where she studied locally at Melbourne University and abroad. Attending the Grosvenor school in 1929, she went on to become one of the most established artists in this medium and biggest advocates of modern art in Australia during the 1930 and 40s.