PROPERTY FROM A PRIVATE COLLECTION, BRISBANE EVELINE SYME (1888-1961) (Church of Santa Prisca, Taxco, Mexico) c1948 watercolour on paper 57.0 x 38.5 cm; 69.0 x 50.5 cm (framed) signed with initials lower right: EWS
EVELINE SYME (1888-1961) Towards the Otways watercolour on paper signed lower right: E.W.SYME. artist's name and title inscribed verso 24.5 x 31.5cm PROVENANCE: Private collection, Melbourne
EVELINE SYME (1888-1961) Rolling Hills watercolour on paper artist's name stamped lower right: E.WSYME 22.5 x 34cm PROVENANCE: Private collection, Melbourne The Estate of the above
EVELINE SYME (1888-1961) Blue Hills ink and watercolour on paper artist's name stamped lower centre: E.WSYME 24 x 30.5cm PROVENANCE: Private collection, Melbourne The Estate of the above
EVELINE SYME (1888-1961) Collins Street, Melbourne c.1927 woodcut, edition of 50 14 x 10cm PROVENANCE: Deutscher~Menzies, Sydney, 16 June 2004, lot 624 Private collection, Melbourne EXHIBITIONS: Watercolours and Woodcuts by E. W. Syme, Athenaeum Art Gallery, Melbourne, 6 - 17 March 1928, cat. no. 49 (another example) Modern Australian Women, Works from a Private Collection, The Ian Potter Centre, Melbourne, 19 October - 24 March 2019 (another example) LITERATURE: Butler, R., & Deutscher, C., A Survey of Australian Relief Prints 1900-1950, Deutscher Galleries, Melbourne, 1978, p. 88, cat. no. 172 (illus. another example) Coppel, S., Linocuts of the Machine Age: Claude Flight and the Grosvenor School, Scolar Press, Aldershot, England, in assoc. National Gallery of Australia, 1995, p. 183, cat. no. ESyA/3 (illus. another example)
EVELINE SYME (1888-1961) The Ruins, Port Arthur woodcut, ed. 17/50 signed lower right: EWSyme editioned lower centre titled lower left 9 x 6.5cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Water Colours and Woodcuts by E.W. Syme, Athenaeum Gallery, Melbourne, 6-17 March 1928, cat. 51 (another example) The Printmakers: Mainly of the Thirties, Important Women Artists [Gallery], Melbourne, 11 September - 30 October 1977, cat. 33 (another example) Autumn Exhibition, Jim Alexander Gallery, Melbourne, 20-27 May 1990, no. 74 (another example) A Selection of Australian Prints and Drawings from 1930s and 40s, aGOG [Australian Girls Own Gallery], Canberra, 3-22 March 1990, no. 3 (another example, dated as circa 1931) Australian Graphics 1917-1989, Coonara Gallery, Victoria, 14 April - 26 May 1996, no. 46 (another example) Australian Prints: Celebrating Eighty Years of the Joshua McCelland Print Room, Joshua McClelland Print Room, Melbourne, 4-21 December 2007, no. 12 (illus., exhibition catalogue, another example) LITERATURE: 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/5 (another example)
§ EVELINE SYME (1888 - 1961) Untitled watercolour on paper signed lower right: EWSYME alternate composition verso inscribed: Cancelled 25 x 33cm (43.5 x 58.5cm framed)
§ EVELINE SYME (1888 - 1961) Untitled watercolour on paper signed lower right: EWSYME alternate composition verso inscribed: Cancelled 25.5 x 31.5cm (43.5 x 58.5cm framed)
Eveline Syme (1881-1961) The Castle Chapel, Amboise, c.1920 titled, numbered, signed below plate: 'The Castle Chapel, Amboise 13/50 EW Syme' linocut in black ink 10.5 x 14.0cm (4 1/8 x 5 1/2in).
EVELINE SYME (1888-1961) Grazing Sheep c.1950 ink and watercolour on paper artist's name stamped lower right: E.WSYME 23.5 x 34.5cm PROVENANCE: The Estate of Anne Montgomery Bridget McDonnell Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Eveline Syme and Melbourne's French Connection, Jim Alexander Gallery, Melbourne, 1988, cat. no. 53
Eveline Syme (1881-1961) Hyde Park, Sydney, c.1930 signed with estate stamp lower right: 'E.W.SYME' watercolour and pencil on paper 37.0 x 22.5cm (14 9/16 x 8 7/8in). For further information on this lot please visit the Bonhams website
EVELINE SYME (1888-1961) Sydney Tram Line 1936 linocut ed. 10/25 from 3 blocks, printed in 1) vermillion, 2) viridian; 3) burnt umber, impression on buff oriental laid tissue, originally mounted to brown paper backing titled, editioned and signed in pencil on reverse of impression below image 24.4 x 17.9cm PROVENANCE: Important Women Artists, Jim Alexander Gallery, Melbourne 1977 Private collection, Melbourne EXHIBITIONS: 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) LITERATURE: 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/ OTHER NOTES: 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.
EVELINE SYME (1888-1961) The Ruins, Port Arthur woodcut ed. 16/50 signed, titled and editioned in pencil below image: The Ruins, Port Arthur 16/50. EW.Syme 9.3 x 6.4cm PROVENANCE: Private collection, South Australia EXHIBITIONS: Water Colours and Woodcuts by E.W. Syme, Athenaeum Gallery, Melbourne, 6-17 March 1928, cat. 51 (another impression) The Printmakers: Mainly of the Thirties, Important Women Artists [Gallery], Melbourne, 11 September - 30 October 1977, cat. 33 (another impression) Autumn Exhibition, Jim Alexander Gallery, Melbourne, 20-27 May 1990, no. 74 (another impression) A Selection of Australian Prints and Drawings from 1930s and 40s, aGOG [Australian Girls Own Gallery], Canberra, 3-22 March 1990, no. 3 (another impression, dated as circa 1931) Australian Graphics 1917-1989, Coonara Gallery, Victoria, 14 April - 26 May 1996, no. 46 (another impression) Australian Prints: Celebrating Eighty Years of the Joshua McCelland Print Room, Joshua McClelland Print Room, Melbourne, 4-21 December 2007, no. 12 (illus. exhibition catalogue, another impression) LITERATURE: 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/5 (another impression) OTHER NOTES: We would like to thank John Keats for his kind assistance in cataloguing this work.
EVELINE SYME (1888-1961) The Elvet Bridge, Durham c.1936 wood-engraving, ed. 8/50 titled, editioned, and signed in pencil below image 15 x 10cm PROVENANCE: Important Women Artists, Jim Alexander Gallery, Melbourne c.1977 Private collection, Melbourne Thence by descent EXHIBITIONS: Linocuts and Wood Engravings by E. W. Syme (in Aid of the Appeal for Funds to Establish a Unversity Women's College), Arts and Crafts Society's Gallery, Melbourne, 5-16 May 1936, cat. no 16 (another example) The Printmakers: Mainly of the Thirties, Important Women Artists Gallery, Melbourne, 11 September - 30 October 1977, cat. no. 29 Etchings, Lithographs, Linocuts, Wood-Engravings, Aquatints, Etc.: 1867 to 1946: Australian, European and English, Joshua McClelland Print Room, Melbourne, 29 July - 15 August 1980, cat. no. 34 (another example) Australian Graphics 1917-1989, Coonara Gallery, Victoria, 14 April - 26 May 1996, cat. no. 47 (another example) LITERATURE: Lino Cuts and Wood Engravings in Exhibition, The Herald, Melbourne, 5 May 1936, p. 8 (illus. another example) 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 OTHER NOTES: We would like to thank John Keats for his kind assistance in cataloguing this work.
EVELINE SYME (1888-1961) The Castle Chapel, Amboise c.1920s woodcut, ed. 21/50 signed, titled and editioned in pencil below image: The Castle Chapel, Amboise. 21/50 E.W.Syme. 10 x 14cm PROVENANCE: Private collection, South Australia EXHIBITIONS: 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) LITERATURE: 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 OTHER NOTES: 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.
EVELINE SYME (1888-1961) Untitled (Landscape) ink and watercolour signed lower right: E W SYME. 23.5 x 33.5cm PROVENANCE: Private collection, Melbourne
EVELINE SYME (1888-1961) Untitled (Landscape) ink and watercolour signed lower right: E W SYME. 23.5 x 33.5cm PROVENANCE: Private collection, Melbourne
EVELINE SYME (1888 - 1961) Study For Still Life with Plaster Cast charcoal on paper Estate stamp lower left 18 x 13.5cm PROVENANCE: Jim Alexander Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Eveline Syme, Jim Alexander Gallery, Melbourne, 5 -12 June 1988, cat. no. 69
Siena Market, 1935 colour linocut on paper, edition 11/25, printed in colour inks, from four blocks (vermillion, yellow ochre, cerulean blue, ivory black), titled, numbered and signed below image 'Siena Market, 11/25, Eveline W. Syme'
EVELINE SYME (1888 - 1961) Mother and Children pastel on paper signed lower right: E.W.SYME 24 x 19.5cm PROVENANCE: Private collection, South Australia OTHER NOTES: In Melbourne new modes of Cubism first appeared in the early 1930s and were developed independently from the schools of Paris. At the George Bell School, students were assigned cubist exercises as homework, designed by Bell to teach students to simplify and abstract forms from real life and alert them to the integral forms of a picture. For Eveline Syme these considerations would not persuade her to become a cubist artist, but instead provided her with a means of distilling reality. The idea was to permit the intellect to overrule the eye, a principle which was important to the students in their future practice. Cubism and Australian Art, Heide Museum of Modern Art Education Resource digital archive, p. 18
EVELINE SYME (1888 - 1961) Mother and Children pastel on paper signed lower right: E.W.SYME 24 x 19.5cm PROVENANCE: Private collection, South Australia OTHER NOTES: In Melbourne new modes of Cubism first appeared in the early 1930s and were developed independently from the schools of Paris. At the George Bell School, students were assigned cubist exercises as homework, designed by Bell to teach students to simplify and abstract forms from real life and alert them to the integral forms of a picture. For Eveline Syme these considerations would not persuade her to become a cubist artist, but instead provided her with a means of distilling reality. The idea was to permit the intellect to overrule the eye, a principle which was important to the students in their future practice. Cubism and Australian Art, Heide Museum of Modern Art Education Resource digital archive, p. 18
§ EVELINE SYME (1888 - 1961) Sydney Tramline 1936 linocut ed. 1/25 signed lower right: E. W. Syme titled and editioned lower left 25 x 17.5cm PROVENANCE: Josef Lebovic Gallery, Sydney Private collection, Sydney Leonard Joel, The Estate of Colin Lanceley, Sydney, 16 November 2015, lot 197 Private collection, Sydney EXHIBITIONS: Exhibition of Pictures by the Contemporary Group of Artists, David Jones' Galleries, Sydney, July 1937, no. 93 (another example). A Survey of Australian Relief Prints 1900/1950, Deutscher Galleries, Melbourne, 13 April-5 May 1978, cat. 180 (another example). Melbourne Woodcuts and Linocuts of the 1920's and 1930's, Ballarat Fine Art Gallery, Victoria, 1981 (another example) LITERATURE: Butler, R. and Deutscher, C., A Survey of Australian Relief Prints 1900/1950, Deutscher Galleries, Melbourne, 1978, cat. 180, p. 91 (illus., another example). Butler, R., Melbourne Woodcuts and Linocuts of the 1920's and 1930's, Ballarat Fine Art Gallery, Victoria, 1981, unpaginated (illus., 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, cat. 20, pp. 184–185, pl. 43 (illus., another example).
EVELINE SYME, (1888 – 1961), SYDNEY TRAMLINE, 1936, colour linocut SIGNED: signed, numbered and inscribed with title below image DIMENSIONS: 24.5 x 18.0 cm PROVENANCE: probably: Joshua McClelland Print Room, Melbourne Ken and Joan Plomley Collection of Modernist Art, Melbourne EXHIBITED: Exhibition of Pictures by the Contemporary Group of Artists, David Jones' Galleries, Sydney, July 1937, no. 93 (another example) A Survey of Australian Relief Prints 1900/1950, Deutscher Galleries, Melbourne, 13 April – 5 May 1978, cat. 180 (another example) Melbourne Woodcuts and Linocuts of the 1920’s and 1930’s, Ballarat Fine Art Gallery, Victoria, 1981, and travelling (another example) Out of the Book and On to the Wall: The Relief Print, Australian National Gallery, Canberra, 20 February – October 1984 (another example) Claude Flight and His Followers: The Linocut Movement between the Wars, Australian National Gallery, Canberra, 18 April – 12 July 1992, and touring, cat. 100 (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) Sydney Moderns: Art for a New World, Art Gallery of New South Wales, Sydney, 6 July – 7 October 2013, (another example) LITERATURE: Butler, R., and Deutscher, C., A Survey of Australian Relief Prints 1900/1950, Deutscher Galleries, Melbourne, 1978, cat. 180, pp. 91, 118 (illus., another example) Butler, R., Melbourne Woodcuts and Linocuts of the 1920's and 1930's, Ballarat Fine Art Gallery, Victoria, 1981, unpaginated (illus., 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, Canberra, 1995, pl. 43, cat. ESy20, pp. 184 – 185 (illus., another example) Hylton, J., Modern Australian Women: Paintings and Prints 1925 – 1945, Art Gallery of South Australia, Adelaide, 2000, pp. 57, 81 (illus., another example), 126 Edwards, D., and Mimmocchi, D. (eds.), Sydney Moderns: Art for a New World, exhibition catalogue, Art Gallery of New South Wales, Sydney, 2013, pp. 71 (illus., another example), 316 RELATED WORK: Other examples of this print are held in the collections of the National Gallery of Australia, Canberra; the Art Gallery of New South Wales, Sydney; and the Ballarat Fine Art Gallery, Victoria
Siena Market, 1935 colour linocut on paper, edition 11/25, printed in colour inks, from four blocks (vermillion, yellow ochre, cerulean blue, ivory black), titled, numbered and signed below image 'Siena Market, 11/25, Eveline W. Syme'
EVELINE W. SYME [1888 - 1961], The Fortress, Villeneuve-sur-Rhone, woodcut, titled, editioned 26/30, signed "E W Syme" and dated 1931 in lower margin, 8.5 x 8.5cm.
EVELINE SYME (1888-1961) Siena Market 1935 colour linocut, ed. 6/25 signed, titled and editioned at base 10 x 7cm PROVENANCE: Niagara Galleries, Melbourne (label verso) OTHER NOTES: Siena Market, ed.2/25 (another edition) in the Collection of National Gallery of Australia, Canberra, 1979
EVELINE SYME, (1888 – 1961), BARWON HEADS, c.1930s, colour linocut DIMENSIONS: 16.5 x 20.0 cm PROVENANCE: Important Women Artists, Melbourne (stock no. 405) Private collection, Melbourne Accompanied by a certificate of authenticity, Important Women Artists, Melbourne, signed and dated 18 September 1977
![SYME Eveline W (1888-1961), 'The [Archibald] Fountain [Hyde Park, Sydney]' 1932., W/Clr & Gouache, 35.5x21.5cm](https://stageimg.invaluable.com/housePhotos/davidson/32/649632/H3427-L190510989.jpg)
![EVELINE SYME [1881 - 1961] Collins Street, Melbourne Woodcut,14.5 x 10 cm](https://stageimg.invaluable.com/housePhotos/LeskiAuctions/52/643352/H21350-L168841992.jpg)
![EVELINE W. SYME [1888 - 1961], The Fortress, Villeneuve-sur-Rhone, woodcut, titled, editioned 26/30, signed "E W Syme" and dated 1931 in lower margin, 8.5 x 8.5cm.](https://stageimg.invaluable.com/housePhotos/LeskiAuctions/52/643352/H21350-L168843699.jpg)
![EVELINE W. SYME [1888 - 1961], The Ruins, Port Arthur, woodcut, titled, editioned 7/50 and signed "E W Syme" in lower margin, 10.5 x 7.5cm.](https://stageimg.invaluable.com/housePhotos/LeskiAuctions/52/643352/H21350-L168841897.jpg)
