Thomas Robertson ( 1819 – 1875)
“Aurora Navigating the Ice Flows” 1857
Oil on canvas
69 x 102 cm
Signed & dated lower left: “T Robertson 1857′

Private collection, Melbourne, c. 1920
Thence by descent
Sotheby’s Melbourne, 21st August 1995, cat. no. 64
Private collection

Thomas Robertson (1819 – 1875) combined his career as a painter with that of captaining the ship Lady Bird, operating between Launceston and Melbourne during the 1850s. In 1856 he was described by The Hobart Town Courier as ‘one of the best marine painters in the Australian colonies’1 This painting depicts the barque Aurora rounding Cape Horn following its journey from Southhampton to Port Adelaide in 1856, under Captain Valentine Ryan.

1. Kerr, J (1992), Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870, Oxford University Press, Melbourne

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Thomas Bock (1790 – 1855)
Portrait of Mr T. D. Chapman (1815 – 1884)
Crayon and Chinese white on paper
32 x 26.5 cm (sight)

‘Thomas Bock: Convict Engraver Society Portraitist’, Queen Victoria Museum and Art Gallery, 1991, cat. no. 79

Much of the early art of the colony was created by convicts who have left legacies far beyond their low standing. Among the earliest of these artists was Thomas Bock (1790 – 1855), who was transported to Hobart Town in 1824. After his pardon, he established himself as a portraitist, producing images of many of the colonial elite. 

Haughton Forrest (1826 – 1925)
(Tasman’s Discovery Ships; the Heemskirk & the Zeehan)
Oil on canvas
51.5 x 80 cm
Signed lower left

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After an early life spent painting between military life and extensive travel between Europe, Jamaica and Brazil, Haughton Forrest (1826 – 1925) emigrated from Britain to Tasmania in 1876. He painted prolifically after his arrival, becoming known for his meticulous paintings of Tasmanian maritime scenes and wilderness landscapes.

With the renewed interest in the early days of the colony in the late 19th century came Forrest’s first forays into historical painting. After exhibiting at the ‘Old Hobart’ exhibition of 1896 with paintings depicting Old Government House, Hobart and Sarah Island, Macquarie Harbour, Forrest turned his hand to the earliest chapter of the island’s European history; the sighting of the west coast of Tasmania by the Dutch explorer Abel Janzoon Tasman (1603 – 1659) in 1642.1

1. Brown, G D (1982), Haughton Forrest 1826 – 1925, Malakoff Fine Art Press, Melbourne

Haughton Forrest (1826 – 1925)
“Yacht ‘Tartar’ off Mumbles Light”
Oil on academy board
31 x 46.5 cm
Signed lower left: ‘HForrest’

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Lloyd Rees (1895-1988)
‘Afternoon’ (Blue Days on the Derwent) 1983
Oil on canvas on board
40 x 50 cm

Blue Days on the Derwent, Tasmanian Exhibition by Lloyd Rees, Von Bertouch Galleries, Newcastle, 1 – 24 July 1983, catalogue no .3

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Thomas Bock (1790 – 1855)
‘R V Hood’ c. 1839
Pencil watercolour and Chinese white on paper
25.5 x 20.4 cm
Signed lower right


John Glover (1767 – 1849)
(An Italianate Classical Landscape)
Oil on canvas
75 x 114 cm

Collection of Angela Burdett-Coutts, 1st Baroness Burdett -Coutts
Private collection, South Africa

Regarded as ‘the Father of Australian Landscape Painting’, John Glover emigrated to Van Diemen’s Land in 1831. While he is now best known for his depictions of the Tasmanian landscape, prior to his departure from England he enjoyed a long and successful career as a painter of classical and picturesque views, and continued to paint European subject matter after his arrival in Van Diemen’s Land in 1831.

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Lloyd Rees (1895 – 1988)
‘The Summit, Mt Wellington I‘ 1973
Watercolour, pen and ink on paper
45 x 60.5 cm
Signed & dated lower right: ’73 L REES’

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Lloyd Frederic Rees (1895-1988)
‘St Mary’s Cathedral’ 1922
Ink and wash on paper
46 x 37.8 cm
Signed & dated lower left: ‘REES/1922’

‘Lloyd Rees Drawings: Centenary Retrospective’, Art Gallery of New South Wales, March 1995

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Lloyd Frederic Rees (1895-1988)
‘Cathedral at Rheims‘ 1917
Pen on paper
26.5 x 18.0 cm

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