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Untitled (Newton family home in the grounds of the Melbourne Benevolent Asylum, Cheltenham), c. 1936, by Max Newton
No visible signature.
Untitled (still life, chrysanthemums), c. 1930s, by Max Newton
Signed with monogram lower left, recto: ‘M’ ; also signed in full lower left, recto, but overpainted: ‘M. T. Newton’.
'History in stone: houses, ancient and modern in the news. ... An Abbey Art Colony', The Sphere, London, 18 September 1948, p. 375
Illustrated feature article on the Abbey Art Centre. One photograph depicts the front of the main house, seen from a garden along a row of raised borders and through an archway covering in flowering vines. The second photograph depicts an artist from…
'Australian art at the Berkeley Galleries: Mr E. McCarthy with Australian artist James Cant (right)', The Sphere, London, 18 March 1950
Illustrated Newspapers press clipping of a photograph taken at the exhibition opening of Australian Aboriginal Art: Paintings by James Cant after the original cave paintings recently discovered by Charles Mountford in the Arnhem Land Plateau, at the…
Untitled (black goddess in shrine with grinding wheel), c. 1953-1954, by Helen Marshall
Unsigned. Not inscribed or dated.
Shadows of Still More Shadowy Things, 1959, by Helen Marshall
Signed and dated in black marker pen lower right, but painted out: ‘Marshall 59’. Inscribed in black marker pen lower centre recto: 'Shadows of Still More Shadowy Things'; inscribed in black paint verso: ‘H. Marshall (painted over) / Paris 1959 /…
Port in Connemara (later known as Haven), July 1952, by Helen Marshall
Unsigned. Dated in oil paint recto lower right: ‘7/52’; inscribed and dated in black marker by Phillip Martin verso: ‘40 [scratched out and replaced with 4] / Helen Marshall / Port in Connemara / 7/1952 / 74 1/2 x 50 / Huile / Colln de l’Artiste’"
Between Benevenue and the Strand (girl with donkey, white cottage beyond), 1951, by Helen Marshall
Signed lower right in black ink: 'HM'. Inscribed and dated in blue biro lower right recto: ‘H 1951’; inscribed in black marker verso: ‘Between Benevenue and the Strand / 50 x 19 1/2 / Shruns 1951 / oil on paper’.
The Reaper, Bellarena, 1950, by Helen Marshall
Unsigned. Dated in pencil lower centre recto: ‘1950’; inscribed by Phillip Martin in black marker pen verso: ‘154 / Bellarena / 1950 / oil on 3/ply / 37 x 27’; also with remain of stamp on reverse: ‘INSPEC...’ (probably a Customs inspection stamp).