GRACE COSSINGTON SMITH 1892-1984 Still life with bottles and bowl oil on board signed lower right PROVENANCE: Sotheby's, Fine Australian Paintings, Melbourne, 22/04/1991, Lot No. 322
Grace Cossington Smith (1892-1984) Spring in Sussex, 1950 signed and dated lower left: 'G. Cossington Smith 50' artist's label verso with title oil on board 25.0 x 16.5cm (9 13/16 x 6 1/2in).
PROPERTY FROM THE COLLECTION OF PROFESSOR JOHN ROBERTS AM, SYDNEY GRACE COSSINGTON SMITH (1892-1984) Devon - Trusham Landscape 1949 oil on canvas on board 33.5 x 44.5 cm; 53.5 x 64.5 cm (framed) signed lower left G. Cossington Smith
PROPERTY FROM THE COLLECTION OF PROFESSOR JOHN ROBERTS AM, SYDNEY GRACE COSSINGTON SMITH (1892-1984) Turramurra Landscape c1926 oil on wood panel 33.5 x 35.5 cm; 48.5 x 50.0 cm (framed)
GRACE COSSINGTON SMITH (1892 - 1984) PORTRAIT IN THE ROOM, 1961 oil on board 35.0 x 23.0 cm signed and dated lower right: G Cossington Smith 61 signed and inscribed with title on artist's handwritten label verso: Portrait in the Room / Grace Cossington Smith inscribed on artist's handwritten label verso: Interior with Sewing Machine / Grace Cossington Smith PROVENANCE Private collection Barsby Auctions, Sydney, 18 August 2018, lot 364 Private collection, Sydney
Grace Cossington Smith (1892-1984) Thanksgiving Service, 1945-46 signed and dated lower right: 'G. Cossington Smith 46' oil on pulpboard 65.5 x 48.5cm (25 13/16 x 19 1/8in). For further information on this lot please visit the Bonhams website
GRACE COSSINGTON SMITH 1892-1984 Roses with Drapery 1953 oil on pulpboard signed and dated 'G. Cossington Smith. 53.' lower left; signed and inscribed 'Roses with Drapery / G. Cossington Smith' verso (label) 26 x 21 cm PROVENANCE Grace Cossington Smith, Sydney Macquarie Galleries, Sydney Private Collection, Sydney, acquired from the above in 1954 for £6.6.0 Private Collection, Sydney, by descent from the above
GRACE COSSINGTON SMITH 1892-1984 Gum Blossom 1946 oil on pulpboard signed and dated 'G. Cossington Smith. 46' lower left; signed and inscribed 'Gum Blossom fading in the Window / Grace Cossington Smith' verso (label) 55.6 x 45.5 cm 54 x 42.5 cm PROVENANCE Grace Cossington Smith, Sydney The Macquarie Galleries, Sydney Private Collection Australian and European Paintings, Leonard Joel, Melbourne, 27 April 1992, lot 10, 'Artist's Bedroom Window', illustrated Private Collection, acquired from the above Australian and European Paintings, Leonard Joel, Melbourne, 3 August 1999, lot 129, 'Gum Blossom Fading in the Window', illustrated Savill Galleries, Sydney, acquired from the above (label verso) Private Collection, Sydney, acquired from the above EXHIBITED Easter Exhibition, The Macquarie Galleries, Sydney, 10-29 April 1946, no. 20, 19 gns Pioneer Contemporaries: Roy De Maistre, Grace Cossington Smith, Roland Wakelin, Macquarie Galleries, Sydney, 23 November - 2 December 1960, no. 21, 'Gum Blossom Fading in the Window' (label verso)
§ GRACE COSSINGTON SMITH 1892-1984 'St. Ives' (At Hunter's Hill) (1944) oil on composition board signed 'G. Cossington Smith' lower left 31.8 x 29 cm PROVENANCE Grace Cossington Smith, Sydney The Macquarie Galleries, Sydney (label verso) Private Collection, Sydney, acquired from the above in March 1976 Private Collection, Sydney EXHIBITED (Possibly) Exhibition of Paintings by Grace Cossington Smith, The Macquarie Galleries, Sydney, 13-25 June 1945, no. 9, 'Landscape at St. Ives', 12 gns Grace Cossington-Smith, The Macquarie Galleries, Sydney, 3-15 March 1976, no. 22, $500
Grace Cossington Smith AO OBE. (Australian 1892-1984), ''Jug with bush foliage''. Signed lower right. Titled label verso. Oil on board. 50 x 42 cm (board). Bearing a ''Maquarie Galleries, Sydney'' label attached verso, together with other ink inscriptions. Provenance: Same private collection in Melbourne since purchased. Visual reference: Art Gallery of NSW ''Wildflowers'' (1940) accession number: 7002.
GRACE COSSINGTON SMITH (1892-1984) Bush c.1940 oil on board signed lower left: G. Cossington Smith titled and dated on Macquarie Galleries label verso 41 x 48cm PROVENANCE: The Macquarie Galleries, Sydney (label verso) Christie's, Melbourne, 24 November 1993, lot 152 Private collection Christie's, Melbourne, 23 November 1998, lot 62 Private collection, Melbourne Joel Fine Art, Melbourne, 16 October 2006, lot 6 Private collection, Melbourne Thence by descent EXHIBITIONS: (Possibly) Grace Cossington-Smith, Macquarie Galleries, Sydney, 3-16 March 1976, cat no. 17 OTHER NOTES: Grace Cossington Smith was one of the most innovative Australian artists of the twentieth century. In the 1940s, many of her peers were painting pure abstraction, whilst the majority of Cossington Smith's subject matter remained still life, interiors, bush and garden scenes and landscapes. For Cossington Smith, the garden and gully outside her studio and around Kuringai Chase provided constant inspiration. So, too, the French Post-Impressionist, Paul Cézanne, informed much of her work especially her landscapes. Of all the painters she admired, Cossington Smith noted that 'there aren't any others that impress me like Cézanne ... I think that he painted what I wanted'. (Interview with Alan Roberts, 1970). In Bush c.1940, Cossington Smith uses dabs or swatches of pure colour to build up her forms. 'I saw things as a pattern expressed in colour', she stated in 1970. Colour is carefully arranged so as to accentuate the solid towering trees while also maintain the delicacy of atmosphere. It was while she was a student under Dattilo Rubbo, that she was introduced to colour theories, leading her to develop her unique vocabulary of colour that would place her, retrospectively, in the vanguard of modernist art in Australia. Olivia Fuller Head of Art
Grace Cossington Smith (1892-1984) Untitled- landscape with trees and fence oil on board Signed and dated 45 lower left Provenance: Acquired by the present vendor at the sale of Justice Ian Callinan's Collection. Sold Christies Brisbane 1990's
GRACE COSSINGTON SMITH (1892-1984) Bush Landscape 1947 oil on board 45.0 x 36.0 cm signed and dated lower right: G. Cossington Smith 47 bears inscription verso: AGS 68
GRACE COSSINGTON SMITH (1892 - 1984) BUSH IN KURINGAI CHASE, 1951 oil on canvas on cardboard 37.5 x 50.0 cm signed and dated lower left: G. Cossington Smith 51 signed and inscribed with title verso: Bush in Kuringai Chase / G. Cossington Smith PROVENANCE Geoffrey and Alex Legge, Sydney The Laverty Collection, Sydney, acquired from the above in c.1985
GRACE COSSINGTON SMITH (1892 - 1984) LANDSCAPE, c.1940 oil on card on composition board 40.5 x 35.0 cm signed lower left: G. Cossington Smith PROVENANCE Clinton Tweedie, Melbourne The Laverty Collection, Sydney, acquired from the above in May 1985
GRACE COSSINGTON SMITH (1892 - 1984) INGRAMS GREEN, SUSSEX, 1949 oil on canvas on board 33.0 x 41.0 cm signed and dated lower left: G. Cossington Smith. 49. bears inscription with title verso: No. 5351 ‘SUSSEX’/ NO 3/ INGRAMS GREEN PROVENANCE Macquarie Galleries, Sydney Private collection, Sydney Christie’s, Melbourne, 2 – 3 May 2002, lot 47 (as ‘Sussex Landscape, 1947’) The Cbus Collection of Australian Art, Melbourne, acquired from the above EXHIBITED Grace Cossington-Smith, Macquarie Galleries, Sydney, 18 – 30 July 1951, cat. 29 (as ‘Autumn at Ingram’s [sic.] Green’) Probably: Grace Cossington-Smith, Macquarie Galleries, Sydney, 21 June – 10 July 1972, cat. 28 on long term loan to Newcastle Art Gallery, New South Wales, prior to 2006 on long term loan to Gippsland Art Gallery, Victoria LITERATURE Nainby, B., Stanhope, Z., and Furlonger, K., The Cbus Collection of Australian Art, in association with Latrobe Regional Gallery, Melbourne, 2009, pp. 67 (illus.), 232
GRACE COSSINGTON SMITH (1892-1984) Hills at Evening Round Florence 1949 oil on canvas-board 46.0 x 36.0 cm signed and dated lower left: G. Cossington Smith 49 bears inscription verso: ''HILLS ROUND FLORENCE/ AT EVENING.''/ GRACE COSSINGTON SMITH/ Ex John Lane Collection/ 1967
Grace Cossington Smith (1892-1984) Australia, At Hunters Hill, 1944, oil on board, signed lower left, re framed by Bedford Studios, Ex The Macquarie Galleries, purchased The Macquarie Galleries 40 King Street Sydney 3rd to 15th March 1976, with original gallery catalogue Item 22 on the list, approx 30.5cm x 27cm
Grace Cossington-Smith Australia, (1892-1984) Still Life, Summer Flowers Oil on Canvas Initial lower left Inscribed verso Royal Academy Exhibition, James Bourlet & Sons Ltd, Nassu St London No. A7348, labels verso Gorringes, East Sussex, UK, 29 November 2005 Lot 2654
Grace Cossington Smith (1892-1984) Australia, At Hunters Hill, 1944, oil on board, signed lower left, Re framed by Bedford Studios, Ex The Macquarie Galleries, purchased The Macquarie Galleries 40 King Street Sydney 3rd to 15th March 1976, with original gallery catalogue Item 23 on the list, approx 30.5cm x 27cm
GRACE COSSINGTON SMITH (1892-1984) Piano and Chair 1964 oil on board 38.0 x 28.0 cm signed and dated lower left: G. Cossington Smith. 64 label attached verso with artist's name and title
GRACE COSSINGTON SMITH (1892 - 1984) SAMUEL MARSDEN AFTER SERVICE AT ST. JOHN’S PARRAMATTA, 1937 – 38 oil on pulpboard 66.0 x 58.5 cm signed and dated lower right: G. Cossington Smith 35 bears inscription on old label verso: “Samuel Marsden after / service at St. Johns / Parramatta” / Grace Cossington Smith / McCAUGHEY PRIZE COMPETITION PROVENANCE Macquarie Galleries, Sydney Private collection, Melbourne EXHIBITED Art Competitions Exhibition: Australia’s 150 th Anniversary Celebrations, 1788 – 1938, Education Department’s Art Gallery, Sydney, 2 – 28 February 1938, cat. 24 Grace Cossington Smith, Macquarie Galleries, Sydney, 21 June – 10 July 1972, cat. 13 (dated as 1935) Grace Cossington Smith: Survey Exhibition 1919 – 1971, Painters Gallery, Sydney, 8 – 26 September 1986; Niagara Galleries, Melbourne, 7 – 24 October 1987, cat. 19 (illus. in exhibition catalogue, dated as 1935) Grace Cossington Smith: Loan Exhibition, S. H. Ervin Gallery, Sydney, 18 October – 18 November 1990, cat. 49 LITERATURE James, B., Grace Cossington Smith, Craftsman House, Sydney, 1990, pl. 69, p. 109 (illus.) RELATED WORK not titled [Sketch for 'Samuel Marsden after service at St John's, Parramatta'], c.1935, pencil on paper, 26.8 x 37.4 cm, in the collection of the National Gallery of Australia, Canberra ESSAY By the end of the 1930s, Grace Cossington Smith had hit her creative stride, producing paintings which would confirm her place among the ranks of Australia’s foremost modern artists. ‘The years from 1926 until the late 1930s’, as Deborah Hart has written, ‘were among the most important in (her) artistic life, when her potential as a painter of colour and light, structure and rhythmic pattern, was realised in work after work. It was as though the previous years of concentrated effort and inventiveness in drawing and painting blossomed into her mature vision’.1 1938 was a significant year in Cossington Smith’s life for several reasons: the death of her father propelled her to the head of the family; fellow modernist Thea Proctor highlighted her work in Art in Australia, noting her ‘personal technique, and … lovely and individual colour sense’,2 and for the first time, she was included in a museum exhibition. Shown at the National Art Gallery of New South Wales, Sydney, 150 Years of Australian Art, was organised by the then Director, Will Ashton, and according to the editors of Art in Australia, ‘The hanging of the pictures (was) exceptionally well carried out – a difficult task with eight hundred works so diverse in character and appearance’.3 The motivation for such a massive undertaking was the sesquicentenary of European settlement of Australia, an event which witnessed a flurry of special activities and celebrations to mark the significant historical milestone. Another such activity which piqued the interest of contemporary visual artists was an art prize administered by the 150th Anniversary Celebration’s Council. In addition to an award of 250 Guineas funded by the Commonwealth Government for a large oil painting depicting an aspect of Australia’s history, smaller prizes were offered for works of various subjects and in various media.4 Beginning work in December 1937 and completing her painting in January of the following year,5 Cossington Smith entered Samuel Marsden After Service at St John’s Church, Parramatta, 1937 – 38 into the category of ‘historical subject in oils’. While far from a household name, Marsden holds a significant place in Australian colonial history, arriving in 1794 to take up the role of assistant to the chaplain of New South Wales and later, for some years, being the only Anglican clergyman on the mainland.6 Stationed at Parramatta he was the driving force behind the construction of St John’s Church (now Cathedral) on a site which lays claim to being the oldest continuous place of Christian worship in Australia.7 In a letter home to England in late April 1803, Marsden wrote, ‘last Easter Sunday I consecrated my church at Parramatta. This building proves a great comfort to my mind as I can now perform a divine service in a manner becoming the worship of Almighty God. At Sydney there is no place for public worship and I fear will be none for a long time to come … It has been with many years labor and patience I have got a temple erected’.8 Cossington Smith’s highly personal choice of subject reflected her own life as a devout Anglican Christian. Marsden stands firmly at the centre of the image, the strong geometry of the composition leading the eye towards him and beyond, to the church which he was so instrumental in founding. Uniformed figures in the distance and the small child to the right of Marsden, symbolise the development of the settlement from a penal colony to a place where the growing and increasingly free population gathered together for regular worship. Typical of the artist, this work was signed and dated some years after execution, most likely prior to its first commercial exhibition at Macquarie Galleries in 1972 when she was 80 years old. In the catalogue accompanying the major Cossington Smith survey exhibition at the Art Gallery of New South Wales, Sydney in 1973, there are numerous examples of erroneous dating by the artist and Daniel Thomas notes that she ‘never inscribed dates on early paintings’ and those ‘included in the one-man shows of 1968, 1970 and 1972 … were given dates by the artist before being , and these dates ... are sometimes as much as ten years astray’.9 A celebratory picture infused with a deeply personal meaning, this is a fascinating work which perfectly encapsulates Cossington Smith’s belief that ‘painting … (expresses) form in colour – colour vibrant with light’10 and her ability to achieve this in an image redolent with both creative and spiritual joy. 1. Hart, D., Grace Cossington Smith, exhibition catalogue, National Gallery of Australia, Canberra, 2005, p. 27 2. Proctor, T., ’Modern Art in Sydney’, Art in Australia, Sydney, 3rd series, no. 73, November 1938, p. 28 3. Ure Smith, S. & Gellert, L., ‘Editorial’, Art in Australia, Sydney, 3rd series, no. 70, March 1938, p. 13 4. Art Competitions Exhibition: Australia’s 150th Anniversary Celebrations 1788 – 1938, exhibition catalogue, Education Department Gallery, 1938. The major prize was awarded to Ivor Hele for his dramatic depiction of Sturt’s reluctant decision to return 1937 (Art Gallery of South Australia, Adelaide) and B.E. Minns won the historical subject in oils for The Landing at Botany Bay, 1788. Thanks to Jin Whittington, Art Gallery of South Australia Research Library, for her research assistance. 5. James, B., Grace Cossington Smith, Craftsman House, Sydney, 1990, p. 109 6. See: Yarwood, ‘A. T., Marsden, Samuel (1765-1838)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/marsden-samuel-2433/text3237, published first in hardcopy 1967, accessed online 22 February 2018 7. http://www.discoverparramatta.com/places/heritage_and_historic_sites/st_..., accessed online 22 February 2018. Towers were added to the 1803 church in 1818 and in 1855, having fallen into disrepair, it was demolished and replaced. 8. Marsden, S., letter to Mrs John Stokes, 27 April 1803, quoted in Mackaness, G., Some Private Correspondence of the Rev. Samuel Marsden and Family 1794-1824, Review Publications, New South Wales, 1976, pp. 30 – 31 9. Thomas, D., Grace Cossington Smith, exhibition catalogue, Art Gallery of New South Wales, Sydney, 1973, p. 9 10. Grace Cossington-Smith, quoted in Modjeska, D., Stravinsky’s Lunch, Pan Macmillan, Sydney, 1999, reprinted 2000, flyleaf KIRSTY GRANT
GRACE COSSINGTON SMITH (1892 - 1984) STILL LIFE WITH CHAIR, 1962 oil on composition board 91.5 x 59.5 cm signed and dated lower left: G. Cossington Smith.62 signed and inscribed with title on artist’s label attached verso: Still Life with Chair / Grace Cossington Smith bears inscription verso: ALBURY ART PRIZE bears inscription on handwritten label verso: Still Life by Grace Cossington Smith / that I bought from the Albury Art Prize / and greatly treasure / Margaret Carnegie PROVENANCE Albury Art Gallery Society, New South Wales Mr Douglas Carnegie and Mrs Margaret Carnegie, New South Wales, acquired from the above in 1967 Gallery 67, Perth, 1972 (label attached verso) Allen D. Christensen, California and Perth Private collection, Perth, acquired from the above in 1981 EXHIBITED Exhibition of Paintings: Grace Cossington Smith, Macquarie Galleries, Sydney, 28 October – 9 November 1964, cat. 4 The Broad Canvas, Art in Australia 1770 – 1967, Sancta Sophia College, University of Sydney, Sydney, 13 – 30 March 1967, cat. 91 Twenty–First Annual Art Exhibition, Albury Art Gallery Society, New South Wales, 7 – 17 November 1967, cat. 92 The Carnegie Private Loan Exhibition, Whitefriars College, Melbourne, 15 – 24 August 1969, and touring to; Geelong Art Gallery, Victoria, 27 August – 19 September 1969, cat. 17 ESSAY Being interviewed in 1965, at the age of seventy-three, Grace Cossington Smith declared, ‘My chief interest, I think, has always been colour, but not flat crude colour, it must be colour within colour, it has to shine; light must be in it’.1 Simply and succinctly, she captured the essential elements of her approach which produced, among others, glorious landscapes, unforgettable images of the Sydney Harbour Bridge – soaring majestically above the 1920s city below – and interior views of her family home, all of which hum with a palpable pictorial energy and glow with luminous hues. Introduced to Van Gogh’s expressive use of colour by her early teacher, Anthony Dattilo Rubbo – who later, perceptively dubbed her ‘Mrs Van Gogh’ – the young Cossington Smith painted an imaginary room for the Dutch master. In the small oil sketch on paper, Van Gogh’s Room, c.1916 (National Gallery of Australia), her striking colour choices are emphasised by handwritten notes at the bottom of the sheet: ‘the walls – violet / floor red / bed cover yellow green / furniture orange’. As Daniel Thomas noted, ‘She already felt the power of colour, in painting and in the rooms we inhabit.’2 This interest in the potential of colour to communicate more than mere visual appearances was further encouraged by an encounter with Beatrice Irwin’s book, New Science of Colour. Alongside creating her own colour wheels, Cossington Smith transcribed the treatise in its entirety during the 1920s, particularly inspired by the idea that colour has the power to stimulate the viewer in physical, intellectual and spiritual ways.3 Cossington Smith’s distinctive application of paint contributes to the polychromatic brilliance of her paintings. Mosaic-like blocks of pigment, rarely mixed on the palette,4 are laid down in rhythmic arrangements, lined up alongside each other and layered so that they shimmer and radiate with internal light. Brushstrokes of white paint add to the variegated luminosity of Still Life with Chair, 1962 and hints of a white ground are also visible, with glimpses of pencil underdrawing marking out the composition. While these ‘tessellations of paint’ are the building blocks with which she constructed each image, ironically, they also dematerialise the solidity of the objects they describe.5 Still life paintings such as this grew out of the interiors which became a major focus of Cossington Smith’s art from the mid-1950s onwards. The family home, a Federation-style house – named Cossington after her mother’s ancestral home in Leicester – was located at Turramurra, on Sydney’s Upper North Shore, and provided a rich array of subject matter. Paintings such as Interior with Wardrobe Mirror, 1955 (National Gallery of Australia) and The Window, 1956 (Art Gallery of New South Wales), combine views of the outside and surrounding garden with details of the domestic interior, while others including Interior with Blue Painting, 1956 (National Gallery of Victoria) look to the inside. The still life paintings feature familiar objects, the placement of which ‘is superficially casual but covertly precise.’ As Bruce James has observed, ‘positions and relations are weighed and fixed.’6 Here, we see jugs, bowls and glass bottles paired off in a way that enables Cossington Smith to highlight variations in form, colour and texture, transforming the everyday into a vision of calm beauty. The depiction of drapery also shows off her confident painterly prowess, inspired in part by the Old Master paintings she had seen during travels in Europe just a few years before. While Cossington Smith produced fewer paintings during the 1950s and early 60s, they increased in scale, reflecting her confidence and the mastery borne of decades of dedicated work. This period also marked the beginning of the serious recognition of her singular contribution and place in Australian art, with academic acclaim, institutional acquisitions, successful commercial exhibitions and finally, in 1973, the first (but certainly not the last) museum retrospective of her art. Curated by Daniel Thomas, the exhibition introduced Cossington Smith’s art to a national audience, opening at the Art Gallery of New South Wales in Sydney and then touring to Brisbane, Newcastle, Perth, Adelaide, Canberra and Melbourne. 1. Interview with Hazel de Berg, Sydney, 16 August 1965, quoted in Thomas, D., Grace Cossington Smith, exhibition catalogue, Trustees, Art Gallery of New South Wales, Sydney, 1973, p. 6 2. Thomas, D., ‘Colour-Worship: Grace Cossington Smith, The Lacquer Room, 1936’ in Creating Australia: 200 Years of Art 1788-1988, Art Gallery of South Australia, Adelaide, 1988, quoted in Fink, H. & Miller, S. (eds.), Recent Past: Writing Australian Art, Daniel Thomas, Art Gallery of New South Wales, Sydney, 2020, p. 120 3. See Hart, D., Grace Cossington Smith, exhibition catalogue, National Gallery of Australia, Canberra, 2005, p. 28 4. Thomas, 1973, op. cit., p. 7 5. James, B., Grace Cossington Smith, Craftsman House, Roseville, 1990, p. 154 6. Ibid., p. 147 KIRSTY GRANT
GRACE COSSINGTON SMITH 1892-1984 Buttercups 1944 oil on pulpboard signed and dated 'G. Cossington Smith. 44' lower left 31.5 x 26.5 cm PROVENANCE Grace Cossington Smith, Sydney The Macquarie Galleries, Sydney Lewis Berger & Sons, Sydney, acquired from the above in March 1947 for 8 gns Miriam Freeman Morrice, Sydney Fine Australian Paintings, Sotheby's Australia, Melbourne, 26 November 1990, lot 237, 'Still Life with Buttercups', illustrated Private Collection, Sydney, acquired from the above Private Collection, Sydney EXHIBITED Exhibition of Paintings by Grace Cossington Smith, The Macquarie Galleries, Sydney, 13-25 June 1945, no. 28, 7 gns Christmas 1946, The Macquarie Galleries, Sydney, 11 December 1946 - 18 January 1947, no. 26, 8 gns Sydney Painters, (The Macquarie Galleries), Kozminsky Gallery, Melbourne, 4-13 March 1947, no. 23, 8 gns
GRACE COSSINGTON SMITH (1892-1984) Still life with bottle 1953 oil on canvas on board signed and dated lower left: G Cossington Smith 53 signed and titled label verso 70 x 22 cm PROVENANCE: Macquarie Galleries, Sydney (label verso) Private collection, Sydney Sotheby's, Melbourne, 5 May 2009, lot 217 (label verso) Susanna Lloyd-Jones, Sydney
GRACE COSSINGTON SMITH 1892-1984 Scrub Country along the Coast 1949 oil on pulpboard signed and dated 'G. Cossington Smith 49' lower right; signed and inscribed '"Scrub Country along the Coast" / G. Cossington Smith / 25 gns' verso (label) 41.5 x 54 cm PROVENANCE: Private Collection, Sydney Fine Australian Paintings, Sotheby's Australia, Melbourne, 27 November 1989, lot 276, illustrated Private Collection, Melbourne, acquired from the above Australian + International Fine Art, Deutscher-Menzies, Melbourne, 13 September 2006, lot 51, illustrated Private Collection, Melbourne, acquired from the above Australian + International Fine Art, Deutscher-Menzies, Melbourne, 13 September 2006, lot 51, illustrated Private Collection, Melbourne, acquired from the above EXHIBITIONS: Annual Exhibition, Society of Artists, Sydney, 20 August - 7 September 1949, no. 79, 25 gns
GRACE COSSINGTON SMITH (1892-1984), Jug with Fruit in the Window 1960 oil on board 90.0 x 73.5 cm signed and dated lower left: G. Cossington Smith 60. inscribed verso: To Macquarie Galleries 19 BLIGH STREET label attached verso with artist's name and title: Jug with Fruit in the Window/ Grace Cossington Smith/ 80 Gns
GRACE COSSINGTON SMITH (1892 – 1984) HILLSIDE AT TURRAMURRA, 1951 oil on canvas on cardboard SIGNED: signed and dated lower left: G. Cossington Smith 51 inscribed with title verso: Hillside at / Evening Turramurra DIMENSIONS: 37.5 x 45.5 cm PROVENANCE: Private collection, Sydney, acquired 1980s Phillips De Pury & Company, Sydney 26 July 1998, lot 288 (dated as 1954) Private collection, Sydney This item is located in our Sydney gallery
GRACE COSSINGTON SMITH (1892-1984), Windswept Hill 1937 oil on board 44.5 x 35.0 cm signed lower left: G. Cossington Smith/ 37 signed and inscribed verso: Windswept Hill/ Grace Cossington-Smith
§ GRACE COSSINGTON SMITH 1892-1984 Looking Over Tusketts 1950 oil on pulpboard signed and dated 'G. Cossington Smith. 1950' lower left; dated and inscribed 'Looking over Tusketts. / Sept, 1950.' verso 27.2 x 35.2 cm PROVENANCE Grace Cossington Smith Private Collection, England, by descent from the above Modern + Contemporary Australian Art, Christie's, London, 23 September 2010, lot 20, illustrated Private Collection, Melbourne, acquired from the above
GRACE COSSINGTON SMITH, (1892 – 1984), HILLSIDE AT TURRAMURRA, 1951, oil on canvas on board SIGNED: signed and dated lower left: G. Cossington Smith 51 inscribed with title verso: Hillside at / Evening Turramurra DIMENSIONS: 37.5 x 45.5 cm PROVENANCE: Private collection, Sydney, acquired 1980s Phillips De Pury & Company, Sydney 26 July 1998, lot 288 (dated as 1954) Private collection, Sydney
GRACE COSSINGTON SMITH, (1892 – 1984), THE RIVER BANK, c.1942 – 44, oil on composition board SIGNED: signed lower right: G. Cossington Smith DIMENSIONS: 40.5 x 46.0 cm PROVENANCE: possibly: Macquarie Galleries, Sydney Leveson Street Gallery, Melbourne Ken and Joan Plomley Collection of Modernist Art, Melbourne, acquired from the above in August 1968 EXHIBITED: possibly: 17th Annual Exhibition of the Contemporary Group, Macquarie Galleries, Sydney, 3 – 22 June 1942, cat. 28 (as ‘National Reserve, Fuller’s Bridge’) RELATED WORK: The Weir at Fuller’s Bridge, c.1944, oil on pulpboard, 36.5 x 29.5 cm, private collection, illus. in James, B., Grace Cossington Smith, Craftsman House, Sydney, 1990, pl. 79, p. 118
