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Lot 49: EUGENE VON GUÉRARD, (1811 –1901), MOUNT KENT, ON THE WONNANGATTA, GIPPS LAND, 1873, oil on academy board

Est: $240,000 AUD - $280,000 AUDSold:
Deutscher and HackettMelbourne, AustraliaNovember 27, 2019

Item Overview

Description


EUGENE VON GUÉRARD
(1811 –1901)
MOUNT KENT, ON THE WONNANGATTA, GIPPS LAND, 1873
oil on academy board

SIGNED:
signed and dated lower right: E. v. Guerard / 1873
bears inscription verso: Mrs D.A. Paterson / 114 Riversdale Rd / Glenferrie

DIMENSIONS:
31.0 x 47.0 cm

PROVENANCE:
Private collection
Arthur Tuckett & Son, Melbourne, 8 May 1914, lot 98 (as ‘Mount Kent’)
Arthur Tuckett & Son, Melbourne, 3 December 1914, lot 61 (as ‘Mount Kent, Gippsland’)
Mrs D. A. Paterson, Melbourne, by 1932
Private collection, New Zealand
Private collection, acquired in 1978
Christie's, Sydney, 17 August 1999, lot 72 (as 'View of Mount Kent, Gippsland')
Private collection, New South Wales
Private collection, Sydney, acquired from the above

EXHIBITED:
The Fourth Exhibition of the Victorian Academy of Arts, Melbourne, July 1874, cat. 74 (as 'Mount Kurt [sic], on the Wannangatta [sic], Gipps Land'), £20.0.0.
Loan Exhibition of Antiques in aid of The Free Kindergarten Union of Victoria, Rocke's Building, Melbourne, 19 May – 4 June 1932, cat. 1401 (as 'View of Mt. Kent, Gippsland’) (lent by Mrs D.A. Patterson)

LITERATURE:
‘Victorian Academy of Art. Fourth Exhibition’, The Argus, Melbourne, 30 July 1874, p. 6
Bruce, C., Comstock, E., & McDonald, F., Eugene von Guérard: A German Romantic in the Antipodes, Alistair Taylor, Maryborough, New Zealand, 1982, cat. 106 and cat. 151, pp. 240, 264
Pullin, R., The Artist as Traveller: The Sketchbooks of Eugene von Guerard, Art Gallery of Ballarat, Victoria, 2018, pp. 218, 220 – 221

RELATED WORK:
Snowy Bluff 19 Dec 1860 and Mount Kent and Part of the Snowy Bluff, Sketchbook XXXII, 1860, folios 31 and 32, Dixson Galleries, State Library of New South Wales, Sydney, DGB16, vol. 11

ESSAY:
In July 1874, Eugene von Guérard presented his oil painting Mount Kent, on the Wonnangatta, Gipps Land, 1873 to the people of Melbourne through the fourth exhibition of the Victorian Academy of Arts. It hung proudly with three more of his paintings in the Academy’s newly opened building on Eastern Hill. The extensive catalogue of 277 works listed their titles as ‘Pulpit Rock, Cape Schank’; ‘Mount Kurt, on the Wannangatta [sic], Gipps Land’ (our painting); ‘St. Agnes Head, north end of Phillip Island’; and ‘Gobett’s [sic] Leap and the Grose Valley, Blue Mountains, N. S.W.’. The leading colonial artists of the day were well represented – Louis Buvelot, H.J. Johnstone, Isaac Whitehead, J.H. Carse from Sydney, and John Gully from New Zealand. And landscapes predominated, The Argus review noting: ‘… a man comes to look upon the mountain and woodland scenery of Victoria with a more appreciative regard, after having been accustomed to see the most poetical aspects of both reflected from the canvas of a Guerard and a Buvelot’.1 The taste of the time was mirrored on the catalogue cover’s well-known quotation from Shakespeare: ‘Whose end, both at the first and now, was and is, to hold, as ‘twere, the mirror up to nature’.2

Led to Australia in 1852 by the lure of Ballarat gold, the Victorian wilderness soon captured von Guérard’s eye and pencil. Settling in Melbourne two years later, he travelled afield to South Australia, New South Wales and Tasmania in search of the sublime and other subjects suitable. His standing as an artist rose rapidly. By 1870 he had been appointed the first Master of the School of Painting and Curator of the National Gallery of Victoria, the Gallery already having acquired two of his major paintings.

Working in the German Romantic tradition, von Guérard awed his admiring audiences with his own awe of nature. Scientific exactness and truth to nature distinguished canvas after magnificent canvas. The same was reflected in their detailed titles. While the might and majesty of nature runs throughout von Guérard’s art, his Australian works show a fascination renewed by the wonders of the antipodes. Its exotic scenery and animals were still curiosities in the eyes of the European settler and visitor alike. Freshness of vision is readily apparent in Mount Kent, on the Wonnangatta, Gipps Land, 1873. The emu peoples the land, while birds of prey startle white cockatoos in the sky. The untamed grandeur of the scene is given a dramatic touch by profiling the mountain peaks against the sky. Yet, all is enveloped in a civilising calm of enchanting beauty, so admired by his contemporaries: ‘… M. von Guerard, excels in his delineation of mountain scenery, and sunset effects or ranges clothed with primeval forests’.3

Mount Kent, on the Wonnangatta, Gipps Land had its genesis in late 1860 in drawings made during the time von Guérard was with Alfred Howitt’s government survey expedition into the mountains of Gippsland. Howitt, referring to von Guérard as ‘the celebrated Australian painter’, observed that the artist ‘is delighted with the mountain scenery – he had no idea that Australia had such country’.4 Von Guérard made two drawings related to our painting. The first, a panorama covering both pages of his sketchbook, is inscribed ‘Snowy Bluff 19 Dec 1860’. The other, ‘Mount Kent and Part of the Snowy Bluff’, is the drawing on which our painting was composed.5

The two von Guérard paintings which evoked special praise when shown in the 1874 Victorian Academy of Arts exhibition were Govett’s Leap and Grose River Valley Blue Mountains, New South Wales, 1873 (now in the collection of the National Gallery of Australia, Canberra) and Mount Kent, on the Wonnangatta, Gipps Land, 1873. In an enthusiastic review, The Argus reported: ‘The scene [of the former] is of impressive magnitude and grandeur, and brings out the artist’s strength, which lies in the effective representation of mountain masses …’6 Our painting shows that for von Guérard grandeur also can be encompassed in works much smaller in scale. Describing the painting as ‘a charming little landscape on the Wannangatta [sic], Gipps Land’, the reviewer delighted in:

An undulating and grassy foreground, lightly timbered and embossed with massive boulders, in [sic] enlivened by a “trotting brook,” which comes sparkling down from the magnificent mountain ranges on the background. These culminate in a majestic eminence, known as Mount Kurt [sic], the peaks of which are flushed with the glow of sunset. The canvas is small, but there is a great deal compressed within its narrow limits’.7

Giving valuable insight into how von Guérard’s contemporaries thought and felt about his art, there is a perceptive suggestion that this painted image encompasses sound, especially delight in the bubbling waters.

1. ‘Victorian Academy of Arts. Fourth Exhibition’, The Argus, 30 July 1874, p. 6
2. Catalogue cover of The Fourth Exhibition of the Victorian Academy of Arts, Melbourne, 1874
3. ‘The Fine Arts in Victoria’, Australasian Sketcher, Melbourne, 5 September 1874, p. 91
4. Folios 31 and 32, Sketchbook XXXII, 1860, Dixson Galleries, State Library of New South Wales, Sydney, DGB16, vol. 11. I am grateful to Ruth Pullin for identifying these drawings.
5. Alfred Howitt, letter to his mother, Howitt papers, 1045/3a, no. 10, quoted in Pullin, op. cit., p. 214
6. ‘Victorian Academy of Arts. Fourth Exhibition’, The Argus, op. cit., 30 July 1874, p. 6
7. ibid.

DAVID THOMAS

Artist or Maker

Payment & Shipping

Payment

Accepted forms of payment: American Express, COD (cash on delivery), MasterCard, Personal Check, Visa, Wire Transfer

Shipping

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Auction Details

Important Australian + International Fine Art

by
Deutscher and Hackett
November 27, 2019, 07:00 PM AEDT

105 Commercial Road South Yarra, Melbourne, VIC, 3141, AU

Terms

Buyer's Premium

27.0%

Bidding Increments

From:To:Increment:
$0$999$50
$1,000$1,999$100
$2,000$3,199$200
$3,200$3,799$300
$3,800$4,199$200
$4,200$4,799$300
$4,800$4,999$200
$5,000$9,999$500
$10,000$19,999$1,000
$20,000$31,999$2,000
$32,000$37,999$3,000
$38,000$41,999$2,000
$42,000$47,999$3,000
$48,000$49,999$2,000
$50,000$99,999$5,000
$100,000$199,999$10,000
$200,000$319,999$20,000
$320,000$379,999$30,000
$380,000$419,999$20,000
$420,000$479,999$30,000
$480,000$499,999$20,000
$500,000$999,999$50,000
$1,000,000+$100,000

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GOODS AND SERVICES TAX

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POST-SALE CONDITIONS

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prospective buyers and sellers guide

1. PRIOR TO AUCTION

CATALOGUE SUBSCRIPTIONS
Catalogues can be obtained at Deutscher and Hackett offices or by online subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information go to www.deutscherandhackett.com).

PRE-SALE ESTIMATES
The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for
prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer's premium or other charges where applicable.

RESERVES
The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS
In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend.

SYMBOL KEY
? Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett or an affiliate owns in whole or in part.
In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price.
? Used to indicate lots for sale without a reserve.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS
All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST'S NAMES
All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist's working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.
Terms used in this catalogue have the meanings ascribed to them below:
a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work
by the artist.
b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part.
c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist's period.
d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist.
e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist.
f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist.
g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist.
h. "signed" / "dated" in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist.
i. "bears signature" / "bears date" in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

PROVENANCE
Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality.

2. THE AUCTION

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REGISTRATION
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CONDUCT OF AUCTION
Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve.

ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS
As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.

RESERVE
Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor.

BIDDING INCREMENTS
Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion):

$500 - 1,000 by $50
$1,000 - 2,000 by $100
$2,000 - 3,000 by $200
$3,000 - 5,000 by $200 / $500 / $800
$5,000 - 10,000 by $500
$10,000 - 20,000 by $1,000
$20,000 - 30,000 by $2,000
$30,000 - 50,000 by $2,000 / $5,000 / $8,000
$50,000 - 100,000 by $5,000
$100,000 - 200,000 by $10,000
$200,000 - 300,000 by $20,000
$300,000 - 500,000 by $20,000 / $50,000 / $80,000
$500,000 - 1,000,000 by $50,000
$1,000,000+ by $100,000

SUCCESSFUL BIDS
The fall of the auctioneer's hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS
Where a lot is unsold, the auctioneer will announce that the lot is "bought in", "passed", "withdrawn" or "returned to owner".

3. AFTER THE AUCTION

PAYMENTS
Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 3.10% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

PURCHASE PRICE AND BUYER'S PREMIUM
The purchase price will be the sum of the final bid price (including any GST) plus a buyer's premium set at 22% (plus GST) of the final bid price. An Invaluable service fee of 5% of the final bid price will also be charged. Buyers may be liable for other charges reasonably incurred once ownership has passed.
GOODS AND SERVICES TAX
Auctions are conducted on a GST inclusive basis (where GST applies). GST is payable on some lots. A list of those lots is set out in the catalogue. Buyers are required to pay a 10% G.S.T which sum is:
a. included in the final bid prices where buying from a GST registered vendor; and
b. included in buyer's premiums and any additional fees charged by Deutscher and Hackett.
If a buyer is classified as a "non-resident" for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION
Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

LOSS OR DAMAGE
Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING
Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties.

EXPORT
Prospective bidders are advised to enquire about export licences -- including endangered species licences and cultural heritage permits, where relevant -- prior to bidding at auction. Telephone the Maritime and Movable Heritage Unit on 02 6274 1810 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale.

COPYRIGHT
The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

Shipping Terms

Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property.

Buyers Premium

The 'buyer's premium' refers to the 22% charge (plus GST) payable by the buyer, calculated as a percentage of the hammer price.

Please note, Invaluable charge a fee for online bidding, which is calculated as 5% of the hammer price, in addition to the Deutscher and Hackett Buyers Premium charged at 22% (plus GST).