SIXTY-FIVE PAINTINGS by ‘THE SUNDAY PAINTERS’ … · The story of art in Tasmania from 1925 ... during the years of World War II Carington Smith and Robert Campbell ... Patricia

Catalogue

of

SIXTY-FIVE PAINTINGS

by

‘THE SUNDAY PAINTERS’

Max Angus, Harry Buckie,

Roy Cox, Patricia Giles, Geoff

Tyson, and Elspeth Vaughan

from the collection

of

Don & Maggie Row

with

Provenances, further details and an

introductory essay, together with a

Catalogue Raisonne for Buckie

Contents

An Introduction to the ‘Sunday Painters’ 3

1 Max Angus, born 1914:Eight watercolours, a charcoal portrait study, and two pen andink drawings 7

2 Harry Buckie, 1897–1982:Eighteen watercolour landscapes and a photograph 11

3 Roy Cox 1898–1983:Three watercolour landscapes and a linocut 23

4 Patricia Giles, born 1932:Eleven watercolours and an oil painting 25

5 Geoff Tyson, 1911–86:Six watercolour landscapes, three prints, and an ink and washportrait sketch 31

6 Elspeth Vaughan, born 1926:Nine watercolours and an oil painting 35

7 List of Exhibitions by Angus, Buckie, Giles, or Vaughan, some-times with a few others 39

8 Harry Buckie 1897–1982: A Catalogue Raisonne 438.1 Chronology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438.2 Catalogue Raisonne . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Bibliography 113

Index 115

An Introduction to the ‘Sunday Painters’

Background and general comments are based on [2], and references when not givenmay be found there. We have included a list of exhibitions relevant to the ‘SundayPainters’ as an entity in Chapter 7.

Other than the biography of Harry Buckie given in [2] his career is not welldocumented. Therefore in order to make whatever information is to hand availablefor public use we have included a chronology and an indexed Catalogue Raisonne ofsome three hundred and forty-six of his paintings in Chapter 8.

Watercolour Painting in Tasmania in the 1950s

Tasmania has a long and quite distinguished history of watercolour painting. TheBritish colonised the island at a time when the short-lived but successful London-based Society of Painters in Watercolour had elevated watercolour to the high pointof its long history. The watercolourists among the settlers brought their traditionand skills with them and aided by a congenial cool climate they taught and practisedtheir art from the outset.

Private tuition, gifted well-to-do amateurs, and Art Societies with their modestsales to the public provided the framework that maintained technical skills and amajor place for watercolourists in the cultural life of the island throughout Victoriantimes.

A gradual change from private to public art education at the beginning of thetwentieth century diminished the role of watercolour in the world of the amateurTasmanian artist.

However three developments coincidentally combined to ensure that all the re-quirements were in place following World War II for a resurgence in the practice ofwatercolour painting.

Firstly, and most indirectly, Paul Cezanne’s influence had helped watercolourpainting survive the belated flux and turmoil in Australian art in the 1930s and 40s.Cezanne, more so than any other post-Impressionist, was known as a watercolouristas well as a painter in oils.

Secondly, and most important of all, had been the role of the watercolourist JosephConnor. The story of art in Tasmania from 1925 until the beginning of World WarII was shaped by him. He participated in the changes that rocked the Australian artworld, influencing others by his painting rather than political or teaching activities.Learning from Cezanne and Matisse he achieved, working alone in Tasmania, by 1928what many others would try for later in vain in Paris and London. The quintessentialamateur, his judgement and painting nevertheless won respect across the spectrumof the Australian pre-war art world. His influence can be seen on any representativecollection of Tasmanian art of the period.

The only other Tasmanian who approached Connor’s brilliance in the pre-warperiod was Edith Holmes [1], a painter in oils. But her influence did not approach thatof Connor. A different personality, filial responsibilities, and a somewhat shelteredlife restricted her influence to a small circle of women who painted in Mildred Lovett’sstudio. Later her standing was held back by the inability of Jack Carington Smith,

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influenced by the poet James MacCauley, to treat a woman’s art with the seriousnessit deserved.

Thirdly, during the years of World War II Carington Smith and Robert Campbelloccupied the two most important and influential teaching positions in the Tasmanianart world. Coincidentally during this period Campbell had turned to watercolour, andCarington Smith was increasingly sketching in the medium even though he believedit an inappropriate technique to teach.

Thus in the early postwar years anyone with a prediliction for watercolour hadample opportunity to learn.

The Birth, Life and Times of the ‘Sunday Painters’

The group began with a suggestion from Roy Cox to Max Angus in 1958 that the twopaint together on Sundays, this being Cox’s only regularly available free time. Angushad painted with Harry Buckie and found him congenial company, and in 1959, onhis return from a 1958 [10], [14] [not 1957, as in [3]] painting trip to Central Australia,Buckie was invited to join the pair, followed in turn by Patricia Giles in 1961 andElspeth Vaughan later in the 60’s.

Geoff Tyson joined them on occasion when visiting from Launceston on examiningduties during his tenure as Head of the Art Department at the Launceston TechnicalCollege from 1960 to 1975. Robert Barnes, John Traynor, and Harry’s daughter Joan,among others, also painted with the nucleus of five on occasion.

Cox had been the driving force that kept the group painting in all weathersand his death in 1976, coinciding with a broadening of the commercial Tasmanianwatercolour-painting scene, is perhaps a convenient point from which to look backand examine the effect that their communal painting had on individual members.

The core members

Roy Cox had studied with Lovett and Dechaineux during the period when Connorsucceeded internationally with his strikingly bold landscapes, and it was possibly withConnor’s help that he exhibited with the Australian Watercolour Institute in 1946.His early lino-cuts and the work of his protege Keith McNeil show the attractionthat Connor’s simplicity of wash and composition had for him. Cox was secretaryof the Tasmanian Group of Painters and teaching part-time at the Hobart TechnicalCollege in the mid-1950s at the time he was appointed chairman of the Cox Kay firmof printers.

Max Angus, on his return to Hobart from Melbourne and wartime service, hadenrolled for a three year course leading to a Diploma of Fine Art at the Technical Col-lege. He had long been interested in Chinese calligraphy and his war-time experienceshad exposed him to the beauty of Japanese art. His post-war exposure to CaringtonSmith further strengthened the attraction that simple elegant line and wash had forhim. From both Bay on the Derwent River (1957) and Winter Landscape (1959) wecan see that Carington Smith’s life-long use of a restrained and muted palate of softgreens, browns and greys had been adopted by Angus by the late 1950s.

Harry Buckie had been influenced by Connor and had simplified his own compo-sitions and colouring washes within the first few years of his arrival in Tasmania in1935. He was a superb draughtsman, not needing to use pencil extensively, but oftendefining his colour areas precisely and confidently by brush alone when flowing theactual watercolour. He never had need of the cloisonnist technique used by some totidy up the draughting of their work

Patricia Giles had studied art part-time intermittently at the Technical Col-lege from 1948 and worked in art-associated administrative roles until completinga Diploma of Fine Art in 1967. Both she, and then Buckie, taught Adult Educa-

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tion classes in the mid-1960s. After various teaching positions she painted full-timefrom 1975. She, and the older Angus, were the only ‘Sunday Painters’ to committhemselves fully to the viscitudes of a professional painting career.

Elspeth Vaughan had taken every opportunity to study art as an amateur duringher career as an infant teacher, and at the time that Cox, Angus and Buckie werefirst embarking on their long association she was overseas on study tours.

The influences within the Group

With shared experiences in various art societies and the Technical College the three-some of Cox, Angus and Buckie combined in the late 1950s to begin the close-knitgroup that was to endure and prosper. Angus was entrepreneurial, with his sense ofengagement shaking up a complacent establishment. His bravura was in contrast tothe steadfast Buckie, a veteran of a decade of comradeship with Connor and to theefficient Cox, who never allowed a Sunday to slip past unused.

Where did they paint? The effect of Carington Smith on Angus had not beenlimited to technique. In the early 1950’s the list of titles in an exhibition catalogue ofwork by one might have come just as naturally from the other. Later Angus continuedto paint adjacent to ‘city and watering hole’ as did Tyson, painting similar scenes butin the North East and on the East Coast.

On the other hand, as early as 1947, Buckie under the influence of Ralph Hope-Johnstone (who later married Elspeth Vaughan) had already ventured into the Tas-manian bush, in particular to Lake Pedder. Giles and Vaughan from the beginningof the 1950s, long before they became ‘Sunday Painters’, were also each painting onbush excursions into central Tasmania.

Angus, Buckie and Giles painted at Pedder in 1955 and the culmination of thegroup’s association in the public mind with the lake came as part of the iconic 1971painters’ camp before the flooding. It all began with Buckie in 1947 and continuestoday with Angus’ paintings from memory.

But overall the East Coast has been the favoured home of the group, perhaps dueto a combination of beauty and accessability as the painters aged.

As happened with watercolourists generally over the years, the group’s papersupports grew in size with availability, increasing ease of transport, change in fashionand increasing community wealth. Initially Angus had introduced his companions(and also Carington Smith) to large-sheet Arches paper making these larger worksfeasible.

It is a more difficult matter to trace the developments of style as a group andindividually in terms of cause and effect. Angus was a professional, very sure ofhimself and dominant in the group. His extraordinary understanding of colour andblending lead to palette choices over the years which have become almost the definingfeature of Tasmanian watercolour landscapes. He and Giles combined these colourswith subtle washes to beautiful effect, retaining the simplicity of earlier compositionswith newfound translucence. At his best Angus has produced, throughout his longcareer, sketches unrivalled in their elegance and simple beauty. Quickly painted theymay have been, but long contemplation preceded each.

Buckie, by way of contrast, was a quiet person who got on with his painting, butevery so often would assert himself with Angus [10]. His oeuvre gives an unrivalledglimpse of Tasmanian watercolour over forty years. He was the most artisticallymature of the ‘Sunday Painters’ and a close associate of both the two major water-colourists of his time. He admired Connor and was influenced by him, and his stylethen remained virtually unchanged until a combination of illness and the influenceof Angus led him to move to a freer technique with simpler compositions on largerpaper late in the 1960s. He was technically the most accomplished watercolourist thestate has seen.

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What were described by Buckie as ‘visits from Mr. Parkinson’ made painting andtravelling increasingly difficult in the 1970’s. This may have necessitated his move tosimple and atmospheric compositions painted with a freer technique on larger paper,as for example Towards Maria Island and the rather sad late Boats at Anchor.

The group interaction with Giles and Vaughan is even less clear. Both arrivedwhen the group had been working together for some years. Each maintained moreof a variety of style, medium, and subject material throughout their career than didAngus and particularly Buckie and Cox. The evidence is clear that Angus was a majorinfluence on Giles’ watercolours, but there is less evidence of change in Vaughan’swork. To a greater extent she continued to paint outside the group environment bothin Tasmania and oversees.

Cox was perhaps enjoying the opportunities and freedom arising from his positionas a chairman rather than as an artisan. His output is significantly less than that ofhis companions and this, together with difficulty in dating his work, makes it riskyto conjecture a change in technique over time.

The paintings

What of the quality of work produced? In a way the ‘Sunday Painters’ played a rolecomparable with the nineteenth Century Tasmanian portraitists a century earlier.They were the journeymen of their era, compelled by photography to eschew simplelikeness for atmosphere and modest innovation. But who shone above them? Wastheirs an era without stars? Some of the answers will only become clear through thelooking glass of time, and there may well be one or two gems from each of the coremembers which will continue to be held in high regard and may even be seen to berepresentative of the best of their era.

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Chapter 1

Max Angus, born 1914:

Eight watercolours, a charcoal portrait

study, and two pen and ink drawings

Bay on the Derwent River, 1957 stock no. 470

watercolour24.5× 37 cm (sight)signed lower right ‘Max Angus’in original artist’s frame and hand-painted double mount

Exhibited: November 1957, Tasmanian Group of Painters, 18th Annual Exhibition,TMAG, Hobart, no.1, 12 guineas [8].

Provenance: Not known - 2007 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p86 (illust.).

Additional information: Verso on the backing upper [handwritten large, in theartist’s hand] ‘A Bay on the Derwent River / Max Angus / ** guineas ’.

Winter Landscape, winter of 1959 stock no. 419

watercolour37.2× 42.8 cm (sight)signed lower right ‘Max Angus’in original artist’s frame and hand-painted mount

Exhibited: August 1959, Tasmanian Group of Painters, 20th Annual Exhibition,TMAG, Hobart, no.3, 25 guineas [8].



Additional information: Verso on the backing upper [handwritten large in pencil,in the artist’s hand] ‘Winter Landscape / 25 guineas / Max Angus’.

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Kelly’s Steps, 1970 stock no. 362

pen and ink30× 19.5 cm (sight)signed lower right ‘Max Angus’


Additional information: Verso on original backing [in ballpoint] ‘Kelly’s Steps,Hobart, 1970’.

Tasman Bridge and Derwent River Hobart, c1970 stock no. 705

watercolour52× 39 cm (sight)signed lower left ‘Max Angus’

Provenance: Sir George Cartland - 2009 Private collection, Hobart.


Blue Gum Forest, c1970 stock no. 706

watercolour53× 38 cm (sight)signed lower right ‘Max Angus’



Additional information: Verso [large in artist’s hand in soft-tipped pen] ‘7. [cir-cled] / $95 / Blue Gum Forest / Max Angus’ .

Across the Bay, c1970 stock no. 707



Additional information: Verso [large in artist’s hand in soft-tipped pen] ‘26. [cir-cled] / $75 / Across the Bay / Max Angus’ .

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Winter Sea Binnalong Bay, winter of 1973 stock no. 666




Additional information: Verso on the backing upper left [in ballpoint] ‘2 WinterSea, Binnalong Bay $90’.

In December 1972 Angus exhibited nine summer-time paintings of Binnalong Bayin the price range $70 to $85. In December 1973 he showed one only, priced at $100.We deduce from both price and title that this work was painted in the winter of 1973.

Rita Streich, a Portrait Study, 1974 stock no. 694

charcoal on grey paper48× 35 cm (sight)signed lower right ‘Max Angus’

Provenance: The artist’s collection - The Salamanca Collection - 2009 Private col-lection, Hobart.


Additional information: A study for the oil portrait of the opera diva. The oilwas hung in the Archibald Prize Competition (but not judged, as the sitter was notAustralian).

Both study and portrait were completed in the one evening during the singer’s1974 visit to the state [29]. The portrait is in the collection of the sitter.

Hobart from Lewis Street, 1980 stock no. 692

pen and grey wash33.6× 46 cm (sight)signed lower right ‘Max Angus’

Provenance: By commission, owners of 6 Lewis Street - 2009 Private collection,Hobart.


Additional information: A view of Hobart and the Derwent and Eastern shorehills from the garden at 6 Lewis Street, North Hobart.

The Institute for the Blind (now Rydges Conference Centre) occupies the fore-ground with its traditional Tasmanian Government-school building style prominent.

The tall building in the centre distance is the Campbell Street Royal HobartHospital wing. The lift tower of the Hobart Technical College is to its right, and the

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Police Station, completed in July 1990, is not yet begun.To its left are a crane and the beginnings of the TAFE Campbell Street campus.

The campus building was opened by HRH Prince Charles on 21st April 1981.Further to the left are the motel at the Liverpool Street roundabout and a build-

ing, since demolished, on the site of the Grand Chancellor Hotel.

Evening, Bay of Fires, March 1988 stock no. 238

watercolour41.3× 57.6 cm (sight)signed lower right ‘Max Angus’



Additional information: Verso on the backing upper [handwritten in black on aprinted Max Angus label] ‘EVENING, THE GARDENS, BAY OF FIRES / WA-TERCOLOUR / $350 (insurance $500) / March 88’.

Autumn Day East Coast, April 1988 stock no. 556

watercolour41.3× 57.6 cm (sight)signed lower left ‘Max Angus’


Additional information: Verso on the backing upper left [large, in texta] ‘4’; and[handwritten in black on a printed Max Angus label] ‘Autumn Day East Coast /Watercolour / $500 / April 88’.

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Chapter 2

Harry Buckie, 1897–1982:

Eighteen watercolour landscapes and a

photograph

Barges, 1935–36 stock no.340

watercolour20.6× 19.6 cm (sight)signed lower right ‘HBUCKIE’ with H and B in monogram

Exhibitions: March 1936, 52nd Annual Exhibition of the Art Society of Tasmania,Hobart, no.104, 2 guineas.



Additional information: Verso is the original label.Barges is one of the first five works Buckie painted in Tasmania when he arrived

from Queensland in 1935 to take up his position as a draughtsman with the HydroElectric Commission. It was painted over the summer, ready for the March exhibitionof the Art Society, and was shown, together with a Queensland landscape and fourother Tasmanian scenes by Buckie.

The ‘White Pheasant’ Goulbourn Street, 1936–37 stock no.383

watercolour21.8× 25.7 cm (sight)signed lower right ‘HBUCKIE’ with H and B in monogramin original frame, mount, and inscribed backing

Exhibitions: March 1937, 53rd Annual Exhibition Art Society of Tasmania, no. 88,seven guineas.

March 1941, 57th Annual Exhibition Art Society of Tasmania, no. 67, fourguineas.

8-27 September 1981, Harry Buckie Watercolours, TMAG, Hobart, no. 2.


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Provenance: Not known - Collection of J. Rayner - Not known - 2006 Private col-lection, Hobart.

Additional information: The ‘White Pheasant’ is one of the first works Buckiepainted in Tasmania after arriving from Queensland in 1935 to take up his positionas a draughtsman with the Hydro Electric Commission. This watercolour, and oneother, were shown in the March 1937 exhibition of the Art Society, and paintedsometime in the preceding twelve months.

Verso, pasted on original brown paper covering the backing, is a typed label fromthe 1981 Tasmanian Art Gallery and Museum Retrospective Exhibition, ‘2 ‘THEWHITE PHEASANT’ GOULBOURN STREET, HOBART c1935’. On the paper[printed, in ink] ‘No 2 / The “White Pheasant” Goulbourn St.’ and [cursive, in olderink] ‘Donated by Mr. H. Buckie / Hydro dept / reserve [pounds] 12-12- / auctioned1 ∗ 3∗’.

The inscription following the word ‘reserve’ has been over-written and underlinedin pencil. The over-writing of ‘1∗3∗’, at least, was done at some time after the paperdeveloped aging cracks, and it is unclear if other characters lie under. The work wasexhibited and for sale in the 1937 Art Society Exhibition. It may have remainedun-sold and later been donated by the artist for some charitable auction during theWar years.

The Barn, 1942–45 stock no.641

watercolour26.1× 36 cm (sight)signed lower right ‘HBUCKIE’ with H and B in monogram

Provenance: Not known - 5th August 2005 Ian Cornelius, Hobart - 9th September2006 Martin McBain, Launceston - 2008 Private collection, Hobart.


Additional information: Prior to 1945 Buckie signed his work ‘HBUCKIE’ withthe ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, also as ‘H BUCKIE’, andpossibly also as ‘H.BUCKIE’. Certainly from 1947 he used the latter two signatures.From October 1953 (or possibly some years earlier) he signed ‘Harry Buckie’ andcontinued to do so [2, page 207]. Thus the work is from a time no later than 1945.

The Agnew family owned the ‘Waverley’ property a few miles west of Oatlands.Following the Depression they chose to live in Hobart and leased the property toPatricia Scott’s father. Stewart Agnew lived on the property with the Scotts afterfinishing school, later marrying Marie Reynolds and running the property himself formany years.

The second Mrs. Buckie [11] was a good friend of Marie, and after she and Harrymarried in 1942 they often travelled to Oatlands by bus, were met, and spent timeat ‘Waverley’. Three watercolours arising from these visits, all dated 1950, wereloaned by Stewart Agnew for the Buckie Retrospective Exhibition [13]. We thus havereasonable grounds for believing this painting is of a barn at the property.

Furthermore, the painting was sold at Gowan’s Auctions in 2005 at about thetime that the Agnews’ estate was being settled. In a moment of high drama anotherBuckie farm scene The Stables at ‘Waverley’, painted circa 1945-53, was discoveredand rescued from its place hidden between the support and backing of The Barn as

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the latter was offered at the auction.However Patricia Scott is adamant that the barn pictured was not at ’Waverley’

[11]. If not, it may possibly have been at ’Okehampton’ on Tasmania’s East Coast.The Buckies visited ‘Okehampton’ often in the 1940s, following Harry’s second mar-riage, and he showed many watercolours painted at the property [6] during the period1942-45. Unfortunately, most of the wooden buildings on the property vanished inthe 1967 bushfires.

Federation Peak from the Cracroft Plains, December 1947–January 1948 stockno.347

watercolour29.5× 33 cm (sight)signed lower right ‘H BUCKIE’



Additional information: Another painting of Federation Peak, (from Huon Plains[sic]) [13, cat.no.15, illust.], was painted by Buckie, as rain swept nearer and compan-ions grew edgy [14], on the walk out to Geeveston from Lake Pedder after the firstlanding by aeroplane on the beach of Lake Pedder in December 1947.

The two works are identical in composition. Each was painted from a spot nearthe Cracroft Crossing at the edge of the Cracroft Plains (mistakenly called the HuonPlains in [13, catalogue no. 15]).

The weather may have been a factor in this work also as some washes in thefoliage are darker at the edges suggesting more hurried application than customary.Pencilled-in cumulus clouds were overtaken by events and an ominous swirling bankof raincloud painted in their place!

Buckie exhibited one painting from his 1947-48 trip to Pedder [6, 1948 catalogue],and no more from the Lake Pedder area until he showed six paintings, five of viewsnear Pedder and one of Mt. Wedge, in March 1954, [6, 1954 catalogue], and a few inlater years.

We know that Harry visited Lake Pedder in the summer of 1947-48, walking outvia Geeveston. We infer from the above paragraph that he did not re-visit the areauntil the summer of 1953-54, and moreover it is likely that he flew in, walked andpainted in the vicinity of the lake, and painted Mt Wedge [6, catalogue no. 7] onthe walk out. Mt. Wedge, not easily seen from the track to Geeveston, is a naturalsubject for painting from the alternative route out to Maydena. We conclude that onthis 1953-54 visit Buckie’s party walked out via Maydena rather than Geeveston.

As Federation Peak from the Cracroft Plains was painted from a point on the trackto Geeveston, not the track to Maydena, we tentatively conclude that it was paintedin the summer of 1947-48 rather than on Buckie’s later visit to Lake Pedder.

The signature lends weight to this view. Prior to 1945 Buckie signed his work‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, as‘H BUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 he used thelatter two signatures. From October 1953 (or possibly some years earlier) he signed‘Harry Buckie’ and continued to do so [2, page 207]. But in any case the signature‘H BUCKIE’ on Federation Peak, from the Cracroft Plains also supports the summerof 1947-48 as the work’s date rather than the summer of 1953-54.

On balance, we incline to the view that Buckie painted Federation Peak twice on

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his first trek, firstly on 30th December 1947 [13, catalogue no. 15, dated 30.12.47]under difficult conditions [14], and a second time under more relaxed conditions prob-ably on the last day of the old year. This work is the latter painting.

Jordan River, January–March 1948 stock no.560

watercolour24.7× 32.8 cm (sight)signed lower right ‘H.BUCKIE’in original R.Hook frame and mount

Exhibitions: April 1948, 64th Annual Exhibition of the Art Society of Tasmania,Hobart, no.12, eight guineas.

Provenance: Not known - 2007 Gowan’s Antique Auction, from an estate - 2007Private collection, Hobart.


Additional information: Verso, on the cardboard pasted to the paper support, topright [in ink, in the artist’s hand] ‘ “JORDAN RIVER” / £8− 8− 0 / H.BUCKIE’.Also, centre is an R Hook framer’s label, order no. 6744, dated 25/3/48.

The work was painted following Buckie’s walk out, in January, from Lake Pedder.In december 1947 his small party was the first to fly to the lake and land. Theythen walked out to Geeveston. Jordan River was painted following this trip, framedin March, and shown in the Art Society of Tasmania’s annual exhibition held in theTasmanian Museum and Art Gallery in April. It was one of only two paintings heshowed that year.

The Stables at ‘Waverley’, 1945–53 stock no.244

watercolour29× 37.3 cm (sight)signed lower right ‘H BUCKIE’



Additional information: The sandstone stables are on the ‘Waverley’ propertywest of Oatlands in the Tasmanian Midlands.

It is one of his best. . . , masterly in the subtle variations in the treat-ment of the stone, and his little ‘colour touches’ in the hint of rust on theroof. [10]

Buckie has created the effect of distance and hillside in the almost featureless strawcoloured grass of the foreground, and made the pine tree solid and dark in an excellentbut simple composition.

The Agnew family owned the ‘Waverley’ property a few miles west of Oatlands.They raced ‘Abyssinia’, a Melbourne Cup winner, which has its grave and tombstone

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near the road into the property. The famiy later ‘got religion’ and also lost heavilyduring the Depression. Consequently they chose to live in Hobart with the children,including their son Stewart, rather than send them to boarding school.

At this time Patricia Scott’s father leased ‘Waverley’, and Patricia remembersthat her nieces called the derelict stables ‘Rat and Mouse House’ for obvious reasons!Stewart lived on the property with them after finishing school. He married MarieReynolds on 20 December 1939 and ran the property himself for many years.

The second Mrs. Buckie [11] was a good friend of Marie, and after she and Harrymarried in 1942 they often travelled to Oatlands by bus, were met, and spent timeat ‘Waverley’. Three watercolours arising from these visits, all dated 1950, wereloaned by Stewart Agnew for the Buckie Retrospective Exhibition [13]. We thus havereasonable grounds for believing this painting is from the same period.

The signature ‘H BUCKIE’ lends weight to this view. Prior to 1945 Buckie signedhis work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in thisstyle, also as ‘H BUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 heused the latter two signatures. From October 1953 (or possibly some years earlier)he signed ‘Harry Buckie’ and continued to do so [?].

The painting was discovered at Gowan’s Auctions in 2005, at about the time thatthe Agnews’ estate was being settled. In a moment of high drama it was rescuedfrom its place hidden between the support and backing of The Barn as the latter wasoffered for sale at the auction.

The support of The Stables at ‘Waverley’ is pasted to cardboard, On the left-handside of the cardboard, beside the paper support, is a sketch [in blue ballpoint pen] ofa seated older woman.

Dead Tree Pattern, 1950–55 stock no.610

watercolour35.2× 33.2 cm (sight)signed lower right ‘Harry Buckie’in the artist’s original framing and hand-painted French-lined mount

Exhibitions: November 1955, Tasmanian Group of Painters 16th Exhibition, Ho-bart, no.12, [8].


Provenance: Not known - 12th July 2008 Gowans’ Antique Auction - 2008 Privatecollection, Hobart.

Additional information: Removing the mount reveals more of the original paint-ing, which measured at least 39.5 × 41.5cm. Buckie drew several pencil outlines forpositioning a mount, focusing attention on the foreground tree for a well-balancedcomposition. The omitted area, mainly foreground, has been partially torn away, andBuckie has re-signed the work (with an erased signature a little to the right of theinked final version).

The masking of strongly coloured foreground grass and red-brown soil by themount, has focussed attention on the complex shapes of the trunks and branches ofthe few dead trees. Buckie’s aim is epitomised by his choice of title, namely DeadTree Pattern.

The paper support was glued to a larger piece of cardboard. Interestingly, thiscardboard is also secondhand, as verso are the few remains of another watercolour,

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presumably also by Buckie, and its mount. Remaining fragments of pencilled out-lining here are consistent with his general practice (see, for example, recto). Thehome-made frame is painted white, and it and the mount offer an attractive andeconomical setting for the watercolour. We have preserved this presentation.

Verso on Buckie’s hand-painted mount [printed, blue ink, in the artist’s hand]’VICTORIA D[missing] / £15 − 1[missing] / H. [missing]’. This strongly supportsthe case for this cardboard to have originally been used as a backing board for anotherpainting. From [13] it is tempting to assume that the work in question was the 1955work Victoria Dock, Hobart, Tasmania, as this seems to be the only painting with asuitable title that was painted when Buckie’s works were offered at fifteen guineas.This confirms 1955 as an earliest date for the framing of Dead Tree Pattern. Thestyle of signature is from a date after 1950, agreeing with our discussion.

Together with an exhibition date in 1955, this information puts the date for thepainting of Dead Tree Pattern in the years 1950-55. The omitted foreground is veryreminiscent of that in The Stables at ‘Waverley’ and suggests that the two werepainted circa 1950 when the Buckies were frequent guests at ’Waverley’.

The Derwent from Taroona Heights, c1956 stock no.220

watercolour25.2× 35.8 cm (sight)signed lower left ‘Harry Buckie’in the artist’s original hand-painted mount

Provenance: Commissioned by the family of Mr. Norman Bates (1931-2003) - 2003By descent - 2005 Private collection, Hobart.


Additional information: The work shows the view from Bates’ property in thehills south of Taroona. It passed to Mr. Bates’ son by descent and first appeared inthe public domain at auction in May 2005.

The signature lends weight to this view. Prior to 1945 Buckie signed his work‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; in 1945 he signed in this style, as ‘HBUCKIE’, and possibly also as ‘H.BUCKIE’. Certainly from 1947 he used the lattertwo signatures. From October 1953 (or possibly some years earlier) he signed ‘HarryBuckie’ and continued to do so. We thus have reasonable grounds for believing thispainting to be from the period after 1950.

In addition, we know from annotations [6, 1956 catalogue], that Mr. Bates tookan option on a Buckie painting in March 1956, and later cancelled it. He may havedecided instead to commission The Derwent from Taroona Heights directly from theartist.

The brown cardboard mount is hand-painted by Buckie in light grey separatedfrom a white inner band by a thin ruled pencil line. This French-lining style, pop-ularised in Tasmania by Launceston artist-framer Geoff Tyson, is characteristic ofBuckie’s framing at this time.

The support is pasted to a brown cardboard backing. Verso, on the backing, topright [in ballpoint] ‘THE DERWENT FROM TAROONA HEIGHTS’, top left [inpencil] ‘Mr. Bates / c/o Leyland Motors / 20 + 16 / 11/2 DD Wax Nat / acs(?) /14th Feb’.

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Rock Pool, circa late 1950s stock no.313

watercolour18.3× 25.9 cm (sight)unsigned and undatedin the artist’s hand-painted mount

Provenance: Not known - 2004 Gowan’s Auctions, from an estate - 2004 Privatecollection, Hobart

Additional information: The work came from the same estate as Silver Light.The brown cardboard mount is hand-painted in light grey separated from a white

inner band by a thin ruled pencil line. This French-lining style, popularised in Tas-mania by Launceston artist-framer Geoff Tyson, is characteristic of Buckie’s framingin the late 1950s. The view of Simpson’s Gap painted on his 1958 visit to CentralAustralia with Ralph Hope-Johnstone uses a version of this mounting style, givingan approximate date for the painting.

Silver Light, 1958 stock no.76

watercolour25× 32.6 cmsigned and dated lower left ‘Harry Buckie 1958’in the artist’s frame and hand-painted mount

Exhibitions: May 1960, 76th Annual Exhibition of the Art Society of Tasmania,Hobart, no.9, fifteen guineas.

May 1961, 77th Annual Exhibition of the Art Society of Tasmania Hobart, no.12,fourteen guineas.

September 1961, 22nd Annual Exhibition of the Tasmanian Group of Painters,Hobart, no.9, sixteen guineas.

Provenance: Not known - 2004 Gowan’s Auctions, from an estate - 2004 Privatecollection, Hobart.


Additional information: The scene looks north along Lisdillon Beach past Boag’sPoint to the Hazards.

Verso, on the backing, top right in ink, ‘SILVER LIGHT / £10.10.0 / [not in theartist’s hand] H. Buckie / 40A Montagu St. / Lenah Valley’ and in the centre [in adifferent, also not the artist’s, hand] in biro, ‘To Clair and Alf / A gift of nostalgiaof our own East Coast / From Nora and from Marge’.

The Buckies sometimes stayed with some friends “called Nora and Marge” at theircottage a little south of Swansea [10]. It is possible that they are the couple referredto in this inscription.

The brown cardboard mount is hand-painted in light grey separated from a whiteinner band by a thin ruled pencil line. This French-lining style, popularised in Tas-mania by Launceston artist-framer Geoff Tyson, is characteristic of Buckie’s framingat this time.

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Simpson’s Gap, 1958 stock no.446

watercolour27.9× 38.1 cm (sight)signed lower right ‘Harry Buckie’in original frame, and artist’s hand-painted mount

Exhibitions: 1959 [15] (or, less likely, in 1960 [28]), Central Australia, Fitzgerald’sAuditorium, no.11.



Additional information: Verso, on the cardboard pasted to the paper support,top in ballpoint, ‘Simpson’s Gap, Macdonnell Range N.T.’ This is printed over [inpencil, handwritten in the artist’s hand] ‘for Simpson’s Gap’. On the frame [in pencil]‘Simpson’s Gap (near)’ and ‘No 11’.

Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob-ably during the winter. This work was painted on that trip, and is in its originalmount, hand-painted by the artist.


Red Bank and Desert Oak, Palm River, 1958 stock no.640

watercolour27× 37 cm (sight)signed lower right ‘Harry Buckie’in original frame, and artist’s hand-painted mount

Exhibitions: 1959 [15] (or, less likely, in 1960 [28]), Central Australia, Fitzgerald’sAuditorium, no.1.



Additional information: Verso upper left top, on the the original pasted paperbacking, ’No 1 / Red Bank and Desert Oak, Palmer River’.

Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob-ably during the winter. This work was painted on that trip, and is in its originalmount, hand-painted by the artist. The Stuart Highway crosses the Palmer Riverabout 150 kilometers south of Alice Springs.


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East Coast, Near Binnalong Bay, summer of 1965–66 stock no.698

watercolour35× 48 cm (sight)signed lower right ‘Harry Buckie’in original frame and mount

Exhibitions: Possibly 1966, Five Hobart Painters Don Camillo Restaurant , (as EastCoast, Near Binnalong Bay), $50.00.



Additional information: In an atmospheric view of the waters off Tasmania’sEast Coast on a day with white clouds and a light sea mist. Buckie’s treatment ofthe seascape illustrates the beginning of his transition from his earlier Cotman-liketechnique to the Angus-inspired communal style of the ‘Sunday Painters’ group.

Verso [in the artist’s hand] ‘EAST COAST, NEAR BINNALONG BAY’ / $50.00/ Harry Buckie, / 409 Sandy Bay Rd, / Sandy Bay 7005’.

Decimal currency was introduced in February 1966, and Buckie’s paintings wereall priced at $55 in the 1967 Don Camillo exhibition. Thus if the notes verso referto a Don Camillo hanging it could only have been in 1966, suggesting that the workwas painted in the summer of 1965–66.

Other than annual Art Society of Tasmania showings, these exhibitions at theDon Camillo of works painted by five members (Max Angus, Roy Cox, Patricia Giles,Elspeth Vaughan, and Buckie) of the ‘Sunday Painters’ on their regular Sunday ex-cursions were Buckie’s main outlet. There is no record of this work at the Art Societyexhibitions, and it is of an area popular with the group, leading to the likleyhoodthat it was indeed shown at the Don Camillo restaurant.

possibly Low Tide at Cambridge, c1966 stock no.128

watercolour34× 39.5 cm (sight)signed lower right ‘Harry Buckie’

Exhibitions: Possibly May 1966, 82nd Annual Exhibition of the Art Society of Tas-mania, Hobart, no.6 (as Low Tide at Cambridge), $45.

Provenance: Not known - Bathurst Antiques - 2004 Private collection, Hobart.

Additional information: Verso, on the backing upper right ‘45 dollars [in black,crossed out] / [in blue ballpoint] 40’. Decimal currency was introduced in February1966. Forty-five dollars was the price Buckie asked for other paintings in 1966.

At this time he often painted in company with Max Angus and the Sunday Groupin the coastal areas near Hobart and the influence of Angus is obvious in this partic-ularly good example of Buckie’s later work [10].

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Towards Maria Island, 1970–71 stock no.615

watercolour36.2× 47 cm (sight)signed lower right ‘Harry Buckie’in original mount and framing

Exhibitions: March 1971, Five Hobart Painters, Don Camillo Restaurant Hobart,no.9 (as Black Man Bay), $60.

8-27 September 1981, Harry Buckie Watercolours, TMAG, Hobart, no. 45.

Provenance: Miss Margaret Amy Crocker, Dynnyrne - 2008 Private collection, Ho-bart.


Additional information: Verso on the paper support [top, printed, in artist’s hand]’BLACKMAN BAY / NEAR DUNNALLY / TAS’.

Verso [attached to the cardboard backing] is a request from the Director of theTMAG for loan-paintings for the upcoming September 1981 Harry Buckie Water-colours exhibition, a loan acknowledgement for Towards Maria Island, a thank-youletter, a TMAG identification slip, an invitation to the Opening of the Exhibition,and an envelope addressed to Mrs. [sic] Crocker from the TMAG with a notation [incursive, on the outside] ’Harry’s Exhibition’.

Clearly the work was originally called Blackman Bay, near Dunnally but we havecontinued to use the equally applicable and better known Towards Maria Island underwhich it was shown at the TMAG.

The annotation on the envelope referred to above indicates that Miss Crocker wason intimate terms with the Buckies but the dating of 1977 supplied by Miss Crockerto [and used by] the TMAG, would seem to be in error.

Buckie’s paintings were increasingly of accessible East Coast scenes during the1970s as intermittent bouts associated with Parkinson’s disease made painting andtravel difficult for the artist.

Mt Anne & Mt Solitary from Lake Pedder, 1971 stock no.725

watercolour36× 48 cm (sight)unsigned and undated

Provenance: Mrs RH Berriman - Not known - 2010 Private collection, Hobart.

References: Fifty Years of Painting in Tasmania 1925–1975, p253 (illust.), (as MtAnne from Lake Pedder).

Additional information: Verso on the backing [in blue ballpoint] ‘Mrs RH Berri-man / 52 Flinders Esplanade / Taroona’.

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Harmony in Grey, possibly c1976 stock no.123

watercolour34× 46.5 cm (sight)signed lower right ‘Harry Buckie’

Exhibitions: Possibly May-June 1976, 92nd Annual Exhibition of the Art Societyof Tasmania, Hobart, no.10 (as The Two Gums), $75.

Provenance: Not known - Bathurst Antiques - 2004 Private collection, Hobart.


Additional information: Verso, on the backing, [printed in Buckie’s hand] ‘No 3“HARMONY IN GREY” / Harry Buckie / 2|409 Sandy Bay Rd., / Sandy Bay. 7005.’,also ‘$[blacked out] RESERVE $[blacked out]’. Decimal currency was introduced inFebruary 1966, and Buckie moved to this address also in 1966 [38].

Some stiffness in the brushwork suggests that this was painted after Parkinson’sdisease began affecting Buckie’s work in the late 1970s [10].

The opening in the original mount was unnecessarily small and was enlarged 15mmon all four sides and the painting repositioned in 2004. Buckie had signed the paintingtwice, one signature being hidden by the original mounting.

Boats at Anchor, after 1977 stock no.616

watercolour26.2× 37 cm (sight)signed lower right ‘Harry Buckie’

Provenance: Miss Margaret Amy Crocker, Dynnyrne - 2008 Private collection, Ho-bart.


Additional information: The signature is laboured, unlike the confident ’HarryBuckie’ of earlier times.

This is a sad but elegant small wash sketch, with no pencil outlining. A finedraughtsman, forced to yield as Parkinson’s disease took hold, the artist was stillable to paint a small atmospheric gem. Only a little unusual cloisonnist outlining inthe immediate foreground hints at his struggle with the disease.

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Chapter 3

Roy Cox 1898–1983:

Three watercolour landscapes and a

linocut

The Hutchins School Old Porch, 1930 stock no.663

coloured linocut19× 11.4 cm (sight)signed and inscribed lower ‘No. 7 The Hutchins School Old Porch Roy Cox 1930’

Exhibitions: March 1931, Art Society of Tasmania 47th Annual Exhibition, no.106(as The Hutchins School Old Porch, unframed), 1 gn.



Additional information: Cox showed two unframed linocuts with the Art Societyof Tasmania in 1931, two watercolours, a lithograph and another linocut in 1933. Itwas 1950 before he exhibited again with the Society, and these later works were allwatercolours.

Rain Squall Mount Wellington, c1965 stock no.481

watercolour36× 52 cm (sight)signed lower left ‘ROY COX’

Exhibitions: March 1971,Five Hobart Painters Don Camillo Restaurant Hobart,no.18 (as Country Road), $78.



Additional information: Verso on the paper support, upper left [lightly] ‘A44’.Also [handwritten, in pencil] ‘26 / Mt Wellington / Landscape’.

On the backing board upper right [lightly, in biro] ‘26’ and upper left a printed

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label ‘Roy Cox Rain squall, Mount Wellington c1965 / Watercolour on paper, framed36h x 52w cm (visible image)’. The reverse of this label describes a 1975 still-life byTelfer Dennis.

It is likely that the work was shown at an Exhibition of the artist, number 26 inthe catalogue. It does not appear [6], [9] in any of the Art Society or Museum groupexhibitions that included his work.

Country Road NW Coast, 1970–71 stock no.260

watercolour36× 50 cm (sight)signed lower right ‘ROY COX’

Exhibitions: March 1971,Five Hobart Painters Don Camillo Restaurant Hobart,no.18 (as Country Road), $78.



Additional information: Verso on the cardboard backing, centre [handwritten, inblack ink] ‘Country Road, N.W. Coast Cox 78’, and lower [covered by masking tape,handwritten in different hand in soft tipped pen] ‘South Arm / Roy Cox 85 dollars’.

Cox’s prices, prior to the introduction of decimal currency in February 1966, wereall in guineas, and none exceeded 40 guineas [6].

He showed three paintings each priced at $84 (the exact equivalent of 40 guineas)at the 1966 Art Society Exhibition, and two in 1967 priced at $84 and $75 respectively.

He showed two watercolours, one at $65 and one at $95, in the 1968 Exhibition.He showed two paintings in 1969 priced at $75 and $85, two in 1970 at $70 and

$80, two in 1971 at $78 and $85, two in 1972 at $80 and $85, and two, each priced at$85, in his last showing in 1973.

The titles in the Catalogues are quite descriptive and preclude any of those listedabove being Country Road, N.W. Coast. This makes it likely that this work waspainted in the summer of 1970–71 and sold in March 1971 at the Don Camillo exhi-bition.

Stone Houses on a Winter’s Morning stock no.756

watercolour34× 44.5 cm (sight)signed lower right ‘Roy Cox’


Additional information: A winter view of a country town street, lined with de-ciduous trees and sandstone buildings. A few months after this was sold at Gowans’Auctions a second version of the same scene, but with the trees in leaf, was also soldat auction.

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Chapter 4

Patricia Giles, born 1932:

Eleven watercolours and an oil painting

Button Grass Lune River, 1967 stock no.66

watercolour35.7× 53.3 cmsigned lower right ‘Patricia Giles’



Additional information: Verso on the backing; upper left is [in pencil] unframed [inblue crayon] ‘$40’, [in artist’s hand, in ballpoint] ‘BUTTON GRASS, LUNE RIVER./ $[crossed out], lower left ‘WATER COLOUR SECTION.’, centre [large, in blackcrayon, circled] ‘225’;

Lower right is a cutting [undated but from the Mercury newspaper in approxi-mately 1983] titled ‘Bush is Painters Paradise’ and including a photo of the artistand a synopsis of her career to that time.

The price of $40 is consistent with the prices asked for the artist’s watercoloursbefore the iconic Lake Pedder Exhibition of 1971 [17].

The work was painted after the bushfires of February 1967,

.. the black sticks were all that was left of the bushes but the buttongrass had started regrowing. [12]

The artist was there with her parents, who collected gemstones and were lookingfor fossilised fern. The day stands out in Patricia’s memory because, in scouringthe burnt earth for fossilised wood, her mother found a pawprint and became veryexcited. She remembered her grandfather shooting a Tasmanian tiger high on thewooded slopes behind Middleton where they lived, and this was the same mark. Thefinding was reported in the next day’s Mercury newspaper.

Mountain Rock Gardens, stock no.784

watercolour53.5× 75 cm (sight)signed lower right ‘Patricia Giles.’

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Additional information: Verso on the support is written [in blue ballpoint] ’Moun-tain Rock Gardens $140’.

Verso on the backing is written [in blue soft tipped pen] ’#18’, and [in red softtipped pen] ’Mountain Rock Gardens Tas. / $140 / Patricia Giles / 8 Braddon Ave/ Hobart. / Tas.’.

Mount Solitary, 1971 stock no.74

watercolour34.8× 46.9 cmsigned lower right ‘Patricia Giles’

Exhibitions: November 1971, Lake Pedder 1971, Saddler’s Court Gallery and theTMAG, no.55, $55 [17].

Provenance: 1971 Saddlers’ Court Gallery - Not known - 2004 Private collection,Hobart.


Additional information: The artist

... put my heart and soul into these Pedder paintings. [12]

as they were part of the effort to stop the flooding of the lake [17]. She later wishedthat she had kept more of them herself.

Verso on the backing; upper left a red sticker and [in black ink] “‘LAKE PED-DER 1971”’ and [printed on a label] ‘55 [underlined] MOUNT SOLITARY / $55 /PATRICIA GILES / 8 BRADDON AVE. / SANDY BAY / HOBART / TAS.’ ; andupper right [in blue ballpoint] ‘4G20’ and [in pencil, cursive] ‘Saddlers Court’.

Moon Sinking behind the Franklands, 1971 stock no.292

watercolour34.8× 46.9 cm (sight)signed lower left ‘Patricia Giles’

Exhibitions: November 1971, Lake Pedder 1971, Saddler’s Court Gallery and theTMAG, no.58, $55 [17].

Provenance: 1971 Saddler’s Court Gallery - 1971 Mr Bill Bale - Not known - 2005Private collection, Hobart.


Additional information: The artist

... put my heart and soul into these Pedder paintings. [12]

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as they were part of the effort to stop the flooding of the lake [17]. She later wishedthat she had kept more of them herself.

Verso on backing; upper left [in black ink] ‘ “LAKE PEDDER 1971” / [under-lined] MOON SINKING BEHIND THE FRANKLANDS / $55 / PATRICIA GILES/ 8 BRADDON AVE. / SANDY BAY / HOBART / TAS.’ ; and upper right [inpencil, cursive] ‘Saddler’s Court / Sold to / Bill Bale’.

Under the Trees at ‘Marchweil’, 1971 stock no.408

watercolour33.9× 46.9 cm (sight)signed lower right ‘Patricia Giles’

Exhibitions: December 1971– January 1972, Patricia Giles, The Don CamilloRestaurant, Hobart, no.17, $60.

Provenance: Not known (together with Seabirds, Georges Bay) - 2006 Private col-lection, Hobart.


Additional information: Verso on the backing; upper left [in black ink] ‘17 Underthe Trees at ‘Marchweil’ / $60’ / PATRICIA GILES / 8 BRADDON AVE. / SANDYBAY / HOBART.’

This work and Seabirds, Georges bay were both shown at the same 1971 exhibition[39] and acquired from the same vendor at auction in 2006.

The pastoral property ‘Marchweil’ on Tasmania’s East Coast is now owned byDavid Walch and is the continuing home of the annual ’Falls Festival’.

Seabirds, Georges Bay, 1971 stock no.409

watercolour33.9× 46.9 cm (sight)signed lower right ‘Patricia Giles’

Exhibitions: December 1971– January 1972, Patricia Giles, The Don CamilloRestaurant, Hobart, no.20, $60 [39].

Provenance: Not known (together with Under the Trees at ‘Marchweil’) - 2006 Pri-vate collection, Hobart.


Additional information: Verso, the support has an abandoned version of the samescene. This abandoned, more detailed and different, treatment of the background hillsand turbulent sky provides an interesting lesson in the choice in approach that artistsmust make.

Upper left on the support is [in ballpoint] ‘SEABIRDS - GEORGES BAY $60’.Verso on the backing, upper left [in black ink] ‘20. SEABIRDS - GEORGES BAY /$60’ / PATRICIA GILES / 8 BRADDON AVE. / SANDY BAY / HOBART.’

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This work and Under the Trees at Marcheil were both shown at the same 1971exhibition [39] and acquired from the same vendor at auction in 2006.

Banksia, c1972 stock no.646

watercolour54× 38 cmsigned lower right ‘Patricia Giles’

Exhibitions: April 1973, Patricia Giles, Saddler’s Court Gallery, Richmond, no. 8,$90.



Additional information: Verso on the support is the beginning of a pattern inwatercolours.

The painting was acquired at auction in 2008, unframed and with no supportinginformation. It has been subsequently framed in a secondhand frame of the appro-priate period.

Patricia Giles is a prolific painter of native Tasmanian trees, flower studies, lichenpatterns, and more generally of works suggested by the patterns of Nature. In par-ticular she has exhibited several works that feature banksias.

However all but one, titled Banksia, involve in their titles other species or the useof the plural noun. We are therefore confident that this work is that shown in April1973 [18] under the name Banksia.

Beach near Anson’s Bay, 1974 stock no.215

watercolour39.7× 53.7 cmsigned lower left ‘Patricia Giles’

Exhibitions: March 1974, Patricia Giles, Tasmanian Watercolours, The Don CamilloRestaurant Hobart, no.14, $90.00.



Additional information: Verso on the backing; upper left [in ballpoint] ‘14. Beachnear Anson’s Bay / $90 / -Patricia Giles-’.

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Spring Colour on the Hartz Mountains Plateau, stock no.757September 1975

watercolour39× 53 cm (sight)signed lower left ‘Patricia Giles’

Exhibitions: Possibly March 1976, Patricia Giles, Don Camillo Restaurant, no.27as ‘Hartz Mountain Country’, $120.

Possibly March 1977, Patricia Giles, Don Camillo Restaurant, no.26 as ’On theHartz Mountains Plateau’, $140.


Additional information: A view of the Devil’s Backbone from the plateau andtrack to Mt Hartz and Mt Snowy.

Verso on the support is written [in the artist’s hand, in black soft tipped pen]’Spring Colour on the Hartz mtns / Plateau. / Patricia Giles. / Sept. 1975.’

The distinctive framing corner reinforcement is like that of Button Grass LuneRiver and two Elspeth Vaughan landscapes painted c1967 .

The Hills behind the Friendly Beaches, October 1978 stock no.766

watercolour36.5× 50 cm (sight)signed lower right ‘Patricia Giles.’

Provenance: Mrs EM Agnew - Not known - 2010 Private collection, Hobart.

Additional information: Verso on the support is written [in blue soft tipped pen]’Mrs. E.M. Agnew’, there is also a Taylor Framing label with artist, title, and datewritten.

Camelias with a Lemon and Mexicana, November 1984 stock no.184

oil on artists’ board29.2× 37 cm (sight)signed lower left ‘Patricia Giles’

Exhibitions: November–December 1984, Patricia Giles, Exhibition of PaintingsSalamanca Place Gallery Hobart, no.11, $400.00 [19].



Additional information: Verso; upper centre [on silverfish eaten rectangular label]‘[printed] TITLE [in black ink] CAMELLIAS WITH A LEMON AND MEXICANA/ [printed] MEDIUM [in black ink] OIL / [printed] PRICE $ [in black ink] 400 /[printed] DATE [in black ink] NOV [printed] 19 [in black ink] 84 / [printed] by PA-

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TRICIA GILES / 8 BRADDON AVENUE, / SANDY BAY, TASMANIA 7005’; andupper right is a section of boardmaker’s stamp ‘THE MORIL***’ and [in blue ball-point] ‘11.’.

Fluted Cape from Simpson’s Bay Bruny Island, c1985 stock no.585

watercolour25× 36.8 cm (sight)signed lower right ‘Patricia Giles’

Exhibitions: December 1985, Patricia Giles Watercolours, Handmark Gallery, Ho-bart, no.6, $300.



Additional information: Verso on the upper left of the support is [in pencil] ’Sold.Nomi $200 U/F’.

This is a view of Fluted Cape across Simpson’s Bay and Adventure Bay fromNorth Bruny on Tasmania’s South-East Coast.

The artist was selling her framed water-colour landscapes of specific views, of morethan twice the size of this scene [27], for between $450 and $600 in 1987, equivalentto a price of $375 to $525 unframed at the time, and suggesting a price between$175 and $250 for an unframed work of the style and small size of Fluted Cape fromSimpson’s Bay, Bruny Island in that period.

Her works offered before 1981 [21] were a little cheaper and, those from 1990 ex-hibitions [20], significantly more expensive.

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Chapter 5

Geoff Tyson, 1911–86:

Six watercolour landscapes, three

prints, and an ink and wash portrait

sketch

A Drying Summer Wind, 1949 stock no.358

watercolour24× 34.3 cm (sight)signed lower right ‘Geoff Tyson ‘49’

Exhibitions: 5th–19th May 1949, The Launceston Art Society’s Exhibition, Launce-ston, no.74, 7 guineas.

Provenance: Not known - The Salamanca Collection - 2006 Private collection, Ho-bart.


Additional information: Verso upper centre, a Salamanca Collection label.

Country Track, 1953 stock no.599

watercolour34.5× 40 cm (sight)signed lower right ‘Geoff Tyson ’53’



Additional information: Verso on support upper right [in the artist’s hand, inblack ink] ’ 30 Talbot Rd., Launceston’.

31

Cloudy Bay Bruny Island, 1967 stock no.597

watercolour33× 53 cm (sight)signed lower left ‘Geoff Tyson / ’67’



Additional information: Verso upper right [in the artist’s hand] ’Cloudy Bay,Bruni Island, $55 / Geoff. Tyson, 32 David St., Launceston’, and lower centre is aWhitelaws Galleries, Launceston, phone 63319466, framer’s label.

Goat Island near Ulverstone, 1968 stock no.434

watercolour34.5× 51 cm (sight)signed lower right ‘Geoff Tyson ’/ 68’in original characteristic French-lined mount

Exhibitions: 4th–16th April 1978, Annual Exhibition of the Launceston Art SocietyQueen Victoria Museum, no.66, $195.

Provenance: Not known - Yorktown Books - 2006 Private collection, Hobart.


Additional information: Barbara Chapman’s foreword [16] to the catalogue of theQueen Victoria Museum and Art Gallery’s 1982 exhibition Geoff Tyson: Watercolours1936–1980 comments that

‘... Some years, such as 1968, have been particularly fruitful, and anumber of paintings of that period have been included’.

The Old Fish Beacon stock no.364

black and white printcoloured, possibly by hand11× 15 cm (sight)signed lower right ‘Geoff. Tyson’


Additional information: A small coloured print of a pencil sketch of the old bea-con at Low Head.

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The Old Buoy stock no.366

black and white print13× 16.5 cm (sight)signed lower right ‘Geoff. Tyson’


Additional information: A small print of a pencil sketch of a buoy washed up ona beach. Verso upper centre, a J M and J N Cocker framing label, ‘order no. GK18’,probably from the period 1960− 80.

Low Head stock no.365

black and white print11× 15.2 cm (sight)signed lower right ‘Geoff Tyson’


Additional information: A small print of a view of Low Head from a boat at themouth of the Tamar.

Low Head, Tasmania stock no.367

watercolour10.6× 14.5 cm (sight)signed lower right ‘GGT’



Additional information: Verso upper centre, a Cocker framing label, probablyfrom the period 1960− 80.

A small watercolour coastal landscape. Green rolling gentle hills and bays fillthe foreground, with the Low Head lighthouse rising behind. The view is from theopposite direction to that in the print Low Head. The palette uses a restrained buteffective combination of greens.

Approaching Queenstown, 1980 stock no.601

watercolour36× 55.5 cm (sight)signed lower right ‘Geoff Tyson / ’80’


33


Additional information: Verso on support upper right [in black texta] ’APPROACH-ING QUEENSTOWN $240’ and [in the artist’s hand, in ballpoint] ’32 David St.,Launceston’.

Ink and Wash Portrait Sketch stock no.642

ink and watercolour32× 26.3 cm (sight)signed lower right ‘Geoff Tyson’in the artist’s French-lined mountverso another portrait sketch


Additional information: A pen and ochre-wash sketch of a man wearing shortsand long socks casually curled up in a carver chair.

Verso is a pen and brown-wash sketch of a man in short-sleeved shirt and slacks,sitting casually on the floor.

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Chapter 6

Elspeth Vaughan, born 1926:

Nine watercolours and an oil painting

Tasmanian Highlands, 1964–65 stock no.447,

oil on masonite61× 76.2 cm (sight)signed lower right ‘Elspeth Vaughan’



Additional information: Verso on the masonite, [handwritten large in black],‘Elspeth Vaughan / 545 Sandy Bay Rd. Hobart / Tasmanian Highlands / FifteenGuineas’.

The price of fifteen guineas suggests the work was offered for sale in 1964 or 1965[6], certainly before decimal currency arrived in 1966.

Victoria Dock, 1966 stock no.198,

watercolour36.5× 53 cm (sight)signed and dated lower left ‘ELSPETH VAUGHAN / 66’

Exhibitions: May 1966, 82nd Annual Exhibition of the Art Society of Tasmania,no.73, $42.

Provenance: Not known - donated to the Tasmanian Association of Disabled Per-sons Inc. probably in the 1970’s, possibly by the artist - 2005 Private collection,Hobart.


Additional information: Verso on the cardboard backing upper left [handwrittenin black soft tipped pen] ‘2. Victoria Dock / 42 dollars [the price had been blackedout]/ Elspeth Vaughan / 545 Sandy Bay Rd’. The unusual price probably was a con-sequence of the 1965 change to decimal currency, being equivalent to twenty guineas.

35

Coastal Bush, 1968 stock no.709,

watercolour39× 53.5 cm (sight)signed lower rightt ‘ELSPETH VAUGHAN’

Exhibitions: 26th October–15th November 1968, Exhibition of Paintings of Tasma-nia, Nepal and South East Asia by Elspeth Vaughan and Harry Buckie, no.16, $60.

Provenance: Sir George Cartland - 2009 Private Collection, Hobart.

Additional information: Verso on the backing, upper left ‘No 27. Coastal Bush /$50 / Elspeth Vaughan’.

Temple of Athenian Zeus Athens, c1969 stock no.148,

watercolour35.8× 49.3 cm (sight)signed lower right ‘ELSPETH VAUGHAN’



Additional information: Verso is an incomplete watercolour landscape of a streamin undulating surroundings.

Verso on the backing upper right is [printed, in black ink] ‘No6 TEMPLE OFATHENIAN ZEUS. ATHENS / 70 dollars [the price had been blacked out] / [signa-ture] Elspeth Vaughan’, and on a small square white label [printed] ‘90’.

The style, framing and original price are consistent with the work being paintedduring the artist’s 1969 visit to Europe.

Lindisfarne Northumberland, 1978 stock no.314,

watercolour39× 54 cm (sight)signed and dated lower left ‘ELSPETH VAUGHAN / 78’



Additional information: Verso on the brown paper backing, upper left [in blueballpoint] ‘ELSPETH VAUGHAN / [circled] ‘31 LINDISFARNE, NORTHUMBER-LAND’, lower cetnre is a framers stamp from A and G Willems. The painting is ina thin gold and brown frame, with a double white mount. It was painted during theartist’s visit to Europe in 1978-80.

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Crofter’s Cottages Skye, 1979 stock no.91,

watercolour38.6× 54.2 cm (sight)signed and dated lower left ‘ELSPETH VAUGHAN / 79’


Additional information: Verso on the white card backing, upper left [in pencil,circled] ‘34’, [in blue ballpoint] ‘ELSPETH VAUGHAN / CROFTERS COTTAGES,SKYE’. The painting is in a thin gold and brown frame, with a double white mountand non-reflecting glass. It was painted during the artist’s visit to Europe in 1978-80.

Low Tide Baie de Kernic Brittany, 1979 stock no.769,

watercolour20× 22.5 cm (sight)signed lower lef ‘ELSPETH VAUGHAN / 79’

Provenance: Not known - 2010 Private Collection, Hobart.

Additional information: Verso on the backing, upper left ’14 ELSPETH VAUGHAN/ LOW TIDE BAIE DE KERNIC, BRITTANY’. Lower centre is a Willems framer’sstamp. The work was painted during the artist’s visit to Europe in 1978-80.

Pink Granite and Sheoaks Shade at Trouser [sic] Point, 1990 stock no.264,

watercolour43× 31.6 cm (sight)signed and dated lower left ‘ELSPETH VAUGHAN 90’

Provenance: Not known - 2004 Bathurst Antiques - 2004 Private Collection, Hobart.


Additional information: Verso on the backing, artist’s label upper left ‘ELSPETHVAUGHAN / PINK GRANITE AND SHE-OAKS SHADE AT TROUSER POINT’.

Green Island over Happy Valley, 1992 stock no.448,

watercolour32× 42.5 cm (sight)signed and dated lower left ‘ELSPETH VAUGHAN / 92’

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Additional information: Verso on the backing, upper left, the artist’s label withtitle and size of the painting. Upper centre is a framers stamp from Nigel HoustonFraming Studio.

The painting is of a Flinders Island scene a few kilometers north of Trousers Point.The viewer looks west from the Strzelecki Peaks, out over pasture, a tree-rimmed dam,and the Strzelecki National Park, across Fotheringate Bay to Big Green Island. Be-yond lies East Kangaroo Island and, on the right hand horizon, Prime Seal Island.

Summer Flowers, 1997 stock no.149,

watercolour50.5× 36 cm (sight)signed and dated lower left ‘ELSPETH VAUGHAN / 97’


Additional information: Verso pasted on the brown paper backing lower centrewas a torn white label with [in ballpoint] ‘97 SUMMER FLOWERS / $1??’. Underthis label was another [illegible] label.

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Chapter 7

List of Exhibitions by Angus, Buckie,

Giles, or Vaughan, sometimes with a

few others

The five regular Sunday painters for many years showed work with the Art Society ofTasmania [6] and The Tasmanian Group of Painters [8]. They also exhibited singlyor as a group. Some exhibitions consisting solely, or mainly, of work by the five arelisted chronologically below.

Year Co-exhibitors Gallery

1946 Angus Sedon, Melb.1947 Angus Shillidays, Mildura

andJohn Martin’s, Adelaide.

1950 Angus Book Club, Melb.1955 Angus Adult Education1956 Giles Nettlefolds1957 Angus Giles Stephen Walker Nettlefolds

1958 Angus and Cox begin paint-ing together on Sundays

1959 Buckie Fitzgeralds

1959 Buckie joins Angus & Cox ontheir Sunday expeditions

1960 Angus Plus 4 others Fitzgeralds

1961 Giles joins the three regulars

1964 Angus J Eldershaw Artamon, NSW1964 Giles Nettlefolds1964 Giles G Woodberry Carrick1965 Angus Giles G Woodberry Fitzgeralds1965 Buckie Vaughan Lloyd Jones1966 Angus Buckie Cox Giles Vaughan Plus 2 others Hamilton, Vic.1967 Angus Buckie Cox Giles Vaughan Don Camillo1967 Buckie Cox Plus ? others Little Gallery

39


1968 Angus Saddlers Court1968 Angus Saddlers Court1968 Buckie Vaughan Saddlers Court1968 Giles Saddlers Court, Dec1969 Vaughan Saddlers Court1969 Angus Giles Armfield Nettlefolds1969 Giles Spinning Wheel, Dec

1961 Vaughan completes the nu-cleus of five ‘Sunday painters’

1970 Giles Art Centre, Dec1970 Vaughan Salamanca Place1971 Angus Buckie Giles Vaughan Barnes, Bolt Saddlers Court, Nov1971 Angus Saddlers Court1971 Giles Don Camillo, Dec1972 Angus Giles J&P Boam Adelaide, SA.1972 Angus Don Camillo1972 Angus Don Camillo1972 Vaughan Don Camillo1973 Angus Saddlers Court1973 Giles Saddlers Court1973 Giles Saddlers Court1973 Giles Hamilton, Vic.1973 Vaughan Don Camillo1974 Vaughan Saddlers Court1974 Angus Don Camillo1974 Giles Don Camillo, Dec1975 Vaughan Newton, Adelaide

1976 Roy Cox dies

1976 Giles Don Camillo, Dec1977 Vaughan Saddlers Court1977 Vaughan Saddlers Court1977 Angus Cauvin Coughton1977 Angus Canberra, ACT1977 Angus Giles Vaughan R Murphy Gallery One1977 Giles Wallhead Coughton1977 Giles Don Camillo, Dec1977 Vaughan Saddlers Court1978 Giles Cauvin Coughton1978 Angus Don Camillo1978 Cox Domain House1978 Vaughan Coughton1979 Angus UTAS

Angus QVMAGAngus Burnie

1980 Vaughan Saddlers Court1980 Vaughan Coughton1981 Vaughan Don Camillo

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1981 Buckie TMAG retrospective1981 Angus Coughton

1982 Harry Buckie dies

1983 Angus Salamanca Place1983 Vaughan Coughton1984 Vaughan Coughton1984 Vaughan Greenhill, Adelaide1985 Vaughan Coughton1985 Vaughan Beaver, ACT1985 Vaughan Richmond1985 Angus Coughton1986 Angus Salamanca Place1986 Vaughan Salamanca Place

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Chapter 8

Harry Buckie 1897–1982: A Catalogue

Raisonne

8.1 Chronology

Harry Buckie was born in Melbourne, fought in the Great War, then trained as adraughtsman and worked in NSW and Queensland, until moving permanently toTasmania in 1935.

1897October 8: Harry Buckie born in Melbourne.

1914–18Enlists in the A.I.F., lying about his age.Serves in Egypt and for three years on theWestern Front as a sapper.

1919Harry was billeted, or staying with relatives, in London helping with the repatriationof demobbed servicemen. Studied drawing and life-classes at the Kingston-on-ThamesTechnical College on Saturday mornings, painted on weekend excursions.

1920Returned to Australia, then enrolled in evening engineering drawing classes at Swin-bourne Technical College and also in evening classes at the National Gallery School.He worked as a draughtsman during the day.

1922:Started working for a Newcastle engineering firm as engineering draughtsman.

1924Harry and Myrtle Mary Hewitt married in Melbourne, then move to Sydney, Harryworking as a draughtsman.

1928Their daughter Joan was born, Myrtle dying in childbirth.

1929–33In the Depression Harry managed to find a job as nightwatchman at the Australia WarMuseum. Joined Douglas Dundas’ weekend sketching club that included, amongstothers, John Eldershaw,

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1933Worked for CSR at the Kalimia Sugar Mills in Queensland as a draughtsman.

1935Began with the Hydro-Electric Comission in Hobart as a draughtsman.

1936March 4–14: Exhibited with the Art Society of Tasmania; The Burdekin River,North Queensland (cat.3), The Derwent (cat.4), Reflections (cat.79), Demolishing(cat.6), On the Slips (cat.7), and Barges (cat.8).

1937–38Probably holidayed on the East Coast in the Coles Bay area during the summer of1937–38.

1937April 7–17: Exhibited with the Art Society of Tasmania; The Grey Barge (cat.9)and The ‘White Pheasant’, Goulburn Street (cat.10).

1938March 23–April 2: Exhibited with the Art Society of Tasmania at the TMAG; MtDirection from Risdon (cat.13), Mt Dove from Coles Bay (cat.14), Coles Bay (cat.15),Grey Day (cat.16), The Crusher (cat.17), Slipyards, Sandy Bay (cat.18), and DomainSlips, ‘Alma Doepel’ (cat.19).

1939–42On Council of Art Society of Tasmania.

1939March 21–April 2: Exhibited with the Art Society of Tasmania at the TMAG;Sheds (cat.20), Elms (cat.22), Elms, Morning (cat.21), Repairs to ‘Huon Chief ’ (cat.23),The Pine (cat.24), To Hobart (cat.25), Grey and Yellow (cat.26), and Fruit PackingShed, New Norfolk (cat.27).

1940April 16–28: Exhibited with the Art Society of Tasmania; A Quiet Street, NewTown (cat. 28), All Saints (cat.29) and A Sunny Morning (cat.30).October 23–November 3: First exhibition of the newly formed Tasmanian Groupof Painters [?, 1940 & 1956 catalogues] at the TMAG. Harry, a founding member,showed four works; Morning (cat.34), Slipyard (cat.35), The Red House (cat.36), andL.F.B.699 (cat.37).

1941March 25–April 6: Exhibited with the Art Society of Tasmania at the TMAG;Sandstone (cat.38), and Near the Cascades (cat.39).October 22–November 2: Exhibited with the Tasmanian Group of Painters,TMAG; Fishing (cat.41), ‘Waverley’, Oatlands (cat.42) and Early Morning (cat.43),

1942Harry maried Margaret Burrows, a kindergarten teacher.No exhibition held by the Art Society of Tasmania in 1942.October 21–31: Exhibited with the Tasmanian Group of Painters, TMAG; Mt Di-rection (Moonah) (cat.49), Bicheno (cat.50), White Sands (cat.52), and Rock Study

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(cat.53)

1943February 9–23: The first Launceston Exhibition by the Tasmanian Group of Painters,held at the Queen Victoria Museum and Art Gallery. Harry exhibited three paint-ings, Sawdust and Spire (cat.44), Mt Direction from Risdon (cat.13) and Road to theFarm (cat.45).May 5–16: Exhibited with the Art Society of Tasmania, TMAG; Old Stone, ‘Oke-hampton’ (cat,46), Backyard, ‘Okehampton’ (cat. 47), The Gate to ‘Okehampton’(cat.48), and again Mt Direction from Risdon (cat.13).November 4–14: Showed two paintings with the Tasmanian Group of Painters atthe TMAG, Old Quarry (cat.57) and Knocklofty (cat.58).

1944April 18–30: Work shown with the Art Society of Tasmania, TMAG; Trees (cat.59),Near Austin’s Ferry (cat.61), Old Hobart (cat.60).November 1–12: Exhibited with the Tasmanian Group of Painters, TMAG; Gran-ite Hill and Button Grass (cat.62), Week-end Cottage (cat.63), St John’s, New Town(cat.64), and Landscape (cat.65).

1945Exhibited with the Australian Watercolour Institute.May 2–11: Exhibited with the Art Society of Tasmania, TMAG; Waterfront (cat.??),Dodge’s Ferry Beach (cat.66), Tranquil Morning (cat.67), and The Bluff (cat.68).October 31–November 11: Exhibited with the Tasmanian Group of Painters,TMAG; Wartime Shipping (cat.71), The Old Willow (cat.242), Boats at Sandy Bay(cat.74), and Ships and Landscape (cat.75).

1946Exhibited with the Australian Watercolour Institute.The two major Tasmanian art societies held their annual exhibitions simultaneously.The Tasmanian Group of Painters appeared to be supporting the Launceston societyby sending twenty-one paintings north for their annual exhibition. Perhaps artisticrivalries were on the boil.March 21–April 4: Exhibited with the Launceston Art Society, QVMAG; Up forRepairs (cat.76).March 27–April 7: Exhibited with the Art Society of Tasmania, TMAG; SunburntCountry (cat.77), Rocks (cat.78), Reflections (cat.79), Glimpse of Old Beach (cat.80),and The Mountain (cat.81).October 2–13: Exhibited with the Tasmanian Group of Painters, TMAG; DownElphinstone Road (cat.82).

1947April 16–27: Exhibited with the Art Society of Tasmania, TMAG; Gray’s Barn(cat.83) Midland Pastures (cat.84), ‘Okehampton’ Landscape (cat.85), ‘Okehampton’Kitchen (cat.55), and ‘Okehampton’ House (cat.86).October 8–19: Exhibited with the Tasmanian Group of Painters, TMAG; RiverScene (cat.72) and Fishing Boy (cat.88).December: He was one of four passengers in the first plane to land on Lake Pedderbeach.

1948Exhibited with the Australian Watercolour Institute.April 7–18: Exhibited with the Art Society of Tasmania, TMAG; Mountains of theSouth-West (cat.93), and Jordan River (cat.94).

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1949Exhibited with the Australian Watercolour Institute.March 30–April 10: Exhibited with the Art Society of Tasmania, TMAG; VictoriaDock, Hobart (cat.130), Canal Entrance, Dunalley (cat.96), Old Building, CampbellTown (cat.97), Near Wilmot Harbour (cat.98), The Leven, Ulverstone (cat.99) andFarm Waggon (cat.100).October 5–19: Exhibition of the Tasmanian Group of Painters, opened by the Gov-ernor of Tasmania at the TMAG; Near Wilmot Harbour (cat.98), A Tasmanian Valley(cat.101), Village under the Cliff (cat.102), Trees at Orford (cat.103), The Tall Gum(cat.104), and Old Barn (cat.105).November 12: An Exhibition by the Art Society of Tasmania, Lady Franklin Mu-seum; Mole Creek (cat.106) and Boats at Port Adelaide (cat.107).

1950Exhibited in Tasmanian Art Civic Centre Canberra.April 19–30: Exhibited with the Art Society of Tasmania, TMAG; Ships in Port(cat.114), Dock Scene (cat.115), Old Buildings, Hamilton (cat.116), Gums in Sunlight(cat.117), A Hot Day (cat.118), Grey Day in the Bush (cat.121), and Afternoon Light(cat.122).

1951Exhibited with the Australian Watercolour Institute.April 11–25: Exhibited with the Art Society of Tasmania, TMAG; Low Tide(cat.123), A Glimpse of Mt. Owen (cat.124), Cradle Mountain (cat.125), tall Trees,near Sheffield (cat.126), and Old Cottage, near Oatlands (cat.127).

1952April 23–May 5: Showed Burnt Trees (cat.128), Rain over Maria Island (cat.129),Victoria Street (cat.130) and Mountain Tops from Lake Tahune (cat.131) with theArt Society of Tasmania at the TMAG.October 15–26: Showed Mountain Tops from Lake Tahune (cat.131), SchoutenIsland (cat.132), The Acropolis (cat.133), The Dry Paddock, Swansea (cat.70), Red-banks, Swansea (cat.134), and Fishermens’ Shacks, Bicheno (cat.135) with the Tas-manian group of Painters at the TMAG.

1953April 16–28: Showed ‘Woolnorth’ Pastures (cat.136), The Wreck of the ‘Colliboi’(cat.137), Hopfields, Derwent Valley (cat.138), Quiet Moorings (cat.139), SwanseaLandscape (cat.140) and Aboriginal Carvings, Tasmania (cat.142) with the Art Soci-ety of Tasmania at the TMAG.1953 October15–26: Showed River Bank, Swansea (cat.144), and The Barge ‘En-terprise’ (cat.145) with the Tasmanian group of Painters at the TMAG.

1954January: Painted in Lake Pedder area, in company of Ralph Hope-Johnstone [?].March 24–April 6: Exhibited with the Art Society of Tasmania at the TMAG;Coronation Peak, Frankland Range (cat.147), A Glimpse of Lake Pedder (cat.148),Lake Pedder Beach (cat.149), Mt Wedge (cat.150), Rain Passing from the Franklands(cat.151), and Cloud over Mt Anne (cat.152).May: Tasmanian Sesquicentenary Art Competition TMAG Hobart, showed LakePedder) (cat.154), and Isolated Mountain and Mt. Anne) (cat.171).October 20–31: Exhibited with the Tasmanian Group of Painters, TMAG; LakePedder (cat.154), Merideth River (cat. 155) and Peter and Paul, Oyster Bay (cat.157)and Portrait of a Dinghy (cat.158).

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1955March 23–April 3: Exhibited with the Art Society of Tasmania; Grey Morning,East Coast (cat.159), Quartzite Rocks, Lake Pedder (cat.160), Sea Piece (cat.161) andGreen Field (cat.162).October 19–30: Exhibited with the Tasmanian Group of Painters, TMAG; LowTide, Swansea (cat.163), Dead Tree Patterns (cat. 164), Lake Pedder Beach, LateAfternoon (cat.146), and Barn at ‘Coswell’ (cat.167).

1956May 2–13: Exhibited with the Art Society of Tasmania at the TMAG, the worksbeing Mt Solitary from Lake Pedder camp (cat.169), Grey and Green, Meredith River(cat.172), Bush (cat.173), and Ship in Port (cat.174).October 17–28: Across the Derwent (cat.181), Mt Dromedary (cat.182), and Rocksat Swansea (cat.176) were shown at the Annual Exhibition of the Tasmanian Group ofPainters at the TMAG. The catalogue included a thumbnail sketch of each member’sbiography and Harry’s, probably written by Harry (the Hon. Sec) himself, read,

Born, Melbourne, trained at Regent Street Polytech, London for 12months, now a Draughtsman in the Civil Branch of the H.E.C.

December 13–16: Exhibited with the Open-Air Art Festival Adult EducationBoard, the works being Across the River (cat.181), A Grey Day (cat.16), and Rocksat Swansea (cat.176).

1957Exhibited with the 1st Tasmanian Art Gallery Exhibition TMAG Hobart.October 31–November 10: Exhibited with the Tasmanian Group of Painters,TMAG; Lake Pedder, West (cat.183), Lake Pedder, East (cat.184), and Lake KingWilliam (cat.185).

1958Exhibited with the 2nd Tasmanian Art Gallery Exhibition TMAG Hobart; showed AQuiet Morning (cat.195).May 7–18: Work with the 74th Annual exhibition of the Art Society of TasmaniaTMAG; The Red track, Swansea (cat.186), Tramps on the Yarra 1 (cat.188), andTramps on the Yarra 2 (cat.189), and Boat Harbour, Wynyard (cat.191).1958: Showed five paintings at an Exhibition of Water Colours Fitzgeralds Audi-torium Collins Street Hobart; Red Tramp on the Yarra (cat.190), Trees by the Sea(cat.192), The Black Rock, Swansea (cat.177), Two Gates (cat.193),and Gum Treeand Barn (cat.194).1958 winter: Travelled to Central Australia with Ralph Hope-Johnstone. Paintedmany landscapes there.1958 late: Invited to paint with Roy Cox and Max Angus, forming the nucleus ofthe ‘Sunday Painters’.

1959March 25–April 26: 3rd Tasmanian Art Gallery Exhibition TMAG Hobart; showedFinke River Gum (cat.201).1959: Solo Exhibition of Watercolours, Central Australia Fitzgerald’s Auditorium,Collins Street Hobart. Inc. Ceremonial Rock and Palm Paddock (cat.198), and Simp-son’s Gap (cat.203).April 22–May 3: Exhibited with the Art Society of Tasmania; Red Bank and DesertOak, Palmer River (cat.204), Gidgee Tree, Central Australia (cat.199), Finke RiverBed, Central Australia (cat.200), and Mt Undoolya, Central Australia (cat.202).1959 August 5–16: With the Tasmanian Group of Painters; The Little Ghost

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Gum, Central Australia (cat.206), Boats at Wynyard (cat.210), Low Tide at Stanley(cat.211), and At Bicheno (cat.212).1959: Exhibition of Tasmanian Paintings Adult Education Board, Harry showedStorm approaching Pittwater (cat.214), Mt. Direction (cat.49), and Landscape afterRain (cat.209).

1960Exhibited with the 4th Tasmanian Art Gallery Exhibition TMAG Hobart; showedLandscape (cat.220).1960: An Exhibition of Watercolours Fitzgerald’s Auditorium Collins Street Hobart;showed six works Mt Direction from the Domain (cat.196), Landscape (cat.220), Gun-ner’s Quoin (cat.221), Two Trees, Northern Territory (cat.222), East Coast (cat.328),and At Rokeby (cat.223).May 4–15: Exhibited with the Art Society of Tasmania, TMAG; showing SilverLight (cat.207), Pittwater (cat.213), Storm approaching Pittwater (cat.214), and Ero-sion and Trees (cat.215).August 30–September 11: Exhibited with the Tasmanian Group of Painters;showing Mulga Scrub, Northern territory (cat.205), Passing Cloud (cat.216), GreySkies (cat.218), and Lonely Dinghy (cat.219).1960: Exhibited with the Adult Education Board.

1961Exhibited with the 5th Tasmanian Art Gallery Exhibition TMAG Hobart.May 3–14: Exhibited with the Art Society of Tasmania, TMAG; showing SilverLight (cat.207), Pittwater (cat.213), and The Yellow Door (cat.224).August 30–September 10: Exhibited with the Tasmanian Group of Painters;Silver Light (cat.207), Landscape (cat.226), Creek (cat.227), and River Reflections(cat.228).1961: Exhibited with the Adult Education Board.

1962Exhibited with the 6th Tasmanian Art Gallery Exhibition TMAG Hobart.May 2–12: Exhibited with the Art Society of Tasmania,TMAG; Promise of Rain(cat.229), Early Morning Tamar River (cat.230), and Mt Direction (cat.49).November 26–30: Exhibited in Tasmanian Watercolours Today Adult EducationBoard Launceston; Creek in Flood (cat.231), Winter Calm (cat.240), Willow (cat.242),River Bank (cat.144), Near Low Head (cat.243), Ring Barked Tree (cat.244), She Oakby the Shore (cat.245), and Landscape near Deloraine (cat.256)).1962: Retired after twenty-seven years with the Hydro-Electric Comission.

1963May 1–12: Exhibited White Sands at Seaford (cat.234), The Sand Dune (cat.235),and Autumn at New Norfolk (cat.236) with the Art Society of Tasmania at the TMAG.1963: Exhibited with the Adult Education Board.

1964April 29–May 10: Exhibited with the Art Society of Tasmania; Gums on the Do-main (cat.238), Calm Evening (cat.239), Dry Country (cat.246), and After the Rain(cat.247).1964: Exhibited with the Adult Education Board.

1965–73Taught landscape drawing and painting with the Adult Education Board.

1965

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April 28–May 9: Showed Lake Nicholls, National Park (cat.249), Derelict (cat.251),The Arve River (cat.252), and Seascape, Bruni (cat.253) at the Art Society of Tas-mania Exhibition, TMAG.1965: Joint exhibition with Elspeth Vaughan, Lloyd Jones Gallery Hobart.

1966Had painting(s) hung in the ESU Art Prize exhibition, Hobart, Launceston, & De-vonport.1966: Exhibited with Tasmanian Artists City of Hamilton Art Gallery.1966: Exhibited with Five Hobart Painters Don Camillo Restaurant Hobart, showingEast Coast, near Binnalong Bay (cat.278).May 3–15: Exhibited with the Art Society of Tasmania, TMAG; showed Old Tree,Old House (cat.275) and Low Tide at Cambridge (cat.277).

1967Hung in the ESU Art Prize exhibition, Hobart, Launceston, & Devonport.May 2–14: Exhibited two paintings with the Art Society of Tasmania at the TMAG;Near Conningham (cat.279) and Ralphs Bay (cat.280).

19681968 early: Travelled to Nepal, Cambodia, Thailand, and Malaysia with his daugh-ter Joan.1968: Exhibited at Saddler’s Court Gallery Richmond, possibly a joint exhibitionwith Elspeth Vaughan; Nepali or Kathmandu House (cat.289) and Temple Ruins,Thailand (cat.294).May 28–June 10: Exhibited with the Art Society of Tasmania at the TMAG; OffShore at Malacca (cat.301).

1969April 15–27: Exhibited with the Art Society of Tasmania, TMAG, showing Sketchfor ‘Mt Machhapuchlare’, Nepal (cat.285), and Near Lunawanna, Bruni (cat.307).October 3: Art Auction of ABC Social Club, submitted Tarana (cat.308).

1970Exhibited with the 47th Annual Exhibition of the Australian Watercolour Institute.April 28–May 17: Exhibited Road near Valleyfield (cat.309) and East Coast on aGrey Day (cat.310) with the Art Society of Tasmania at the TMAG.c1970: Exhibited two works, Sea Piece (cat.161) and From the Mountain (cat.339),with the Australia Junior Chamber of Commerce Community Art Exhibition Hobart.1970: Exhibited with Watercolours by Tasmanian Artists at the Salamanca PlaceGallery Hobart.

19711971: Lake Pedder 1971 Exhibition TMAG & Saddlers’ Court Gallery Richmond;Rock Formation Western Shore (cat.317), The Bonnet I (cat.319), The FranklandRange (cat.325), The Bonnet II (cat.320), Cloud over the Franklands (cat.321), East-ern End Frankland Range (cat.323), The Beach and Coronets (cat.324) and Cloudlifting off the Franklands (cat.322).March 6: Exhibited with Five Hobart Painters Don Camillo Resaurant Sandy Bay;showed Cape Bernier (cat.311), Towards Maria Island (cat.315), Eaglehawk Neck(cat.312), Trees in Sandown Park (cat.313), and A House at Bothwell (cat.314).

1972Art Society of Tasmania annual exhibition, showed East Coast (cat.328).

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1972: Exhibited with Watercolours by Tasmanian Artists at the Salamanca PlaceGallery Hobart.1972 December: Exhibited The Coronets and Mt. Wedge (cat.326) in The Tasma-nian Landscape.

1973: Art Society of Tasmania annual exhibition, showed Mt Strezlecki, FlindersIsland (cat.329).1973 September 14–28: 50th Annual Exhibition Australian Watercolour Institute,showed Strezlecki Park, Flinders Island (cat.330).1973: Awarded life-membership of the Art Society of Tasmania. Exhibited with BlueGum Festival Hobart.

1974Elected a member of the Australian Watercolour Institute, and exhibited with the51st Annual Exhibition.1974: Art Society of Tasmania annual exhibition, showed Near Marion Bay (cat.331).

1975April 8–23: Exhibited with the Art Society of Tasmania annual exhibition; ProsserBay (cat.332).

1976May–June: Art Society of Tasmania annual exhibition; Harmony in Grey (cat.270).

1977June 7–19: Art Society of Tasmania annual exhibition; Racing Clouds (cat.333) andStudy in Grey (cat.334).

1978Exhibited with 50 Years of Watercolour Painting in Tasmania 1928–78 University ofTasmania Hobart.

1979February 20–28: Exhibited with the Art Society of Tasmania at the annual exhi-bition; showed Grey Landscape (cat.336).October 25–November 18: Exhibited with the Art Society of Tasmania for thelast time at the Spring Exhibition; Gateway to Angkor Wat (cat.293).

1980February 19–27: AST Annual Exhibition, showed The Penang River, Malaysia(cat.302).April and May: Showed three watercolours at the Water Colours by TasmanianPainters Richmond & Hobart, namely River Mouth East Coast (cat.340), In Rich-mond (cat.341) and Pittwater Cambridge Tasmania (cat.213).

1981September 8–27: The retrospective exhibition, Harry Buckie Watercolours TMAGHobart.

1982April 17: Harry Buckie died.

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8.2 Catalogue Raisonne

Unless otherwise stated each work in the catalogue is watercolour on paper.

1. THE BRIDGE AT KINGSTON-ON-THAMES 1919

14.5× 10.5 cmsigned with initials lower rightinscribed ‘Kingston Bridge’ lower left

This was painted during the year the artist spent in London before de-mobilisationfrom the AIF. He enrolled in weekend drawing and life classes at the Kingston-upon-Thames Technical College and spent as much time as possible paintingduring the weekends.

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 1 (as The Bridge at Kingston-on-Thames, dated as 1919, collectionMrs Turner).

Provenance: Mrs Turner - Not known.

2. SHIP MOORED IN AN INLET, SYDNEY 1924–33

signed lower right ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram

A landscape probably painted during Buckie’s time in Sydney when he paintedwith Douglas Dundas and his sketching group, which included John Eldershawwho was domiciled in Tasmania at the time. The painting is only known froma photograph in the possession of a member of the artist’s family [10].

Provenance: Not known.

3. THE BURDEKIN RIVER, NORTH QUEENSLAND 1933–35

A landscape painted during Buckie’s period as a draughtsman at the KalamiaSugar Mills at Ayr near the Burdekin in North Queensland, before his move toTasmania as a draughtsman with the Hydro-Electric Commission.

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 99 (as TheBurdekin River, North Queensland), 7 gns.


4. THE DERWENT 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 100 (asThe Derwent), 5 gns.


5. REFLECTIONS 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 101 (asReflections), 7 gns.


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6. DEMOLISHING 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 102 (asDemolishing), 4 gns.


7. ON THE SLIPS 1935–36

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 103 (asOn the Slips), 3 gns.


8. BARGES 1935–36

20.6× 19.6 cm (sight)signed lower right ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram

A view of two coastal ‘barges’ in Victoria Dock, with King’s Pier and the Easternshore hills in the background. All small wooden coastal freight-carrying sailingboats were called ‘barges’.

The blue-painted ketch is possibly the Gazelle [5]. She plied between Nubeenaand Hobart for many years, was licenced to carry six passengers, and was theonly barge with a toilet.

A sailor rows one dinghy across the dock and another dinghy is tied to the white‘barge’. The elegance and economy of the realisation of this latter dinghy areworthy of note.

Overall, the palette is softer and paler than in Buckie’s later works, perhapsreflecting his recent transition to temperate Tasmania from the glare of theQueensland sun.

Barges is one of the first five works he painted in Tasmania following his arrivalfrom Queensland in 1935 to take up his position as a draughtsman with theHydro Electric Commission. This watercolour was painted over the summer,ready for the March exhibition of the Art Society. It was shown, together witha Queensland landscape and four other Tasmanian scenes by Buckie.

Verso is the original label ‘Barges’.

Exhibitions: March 1936 AST 52nd Annual Exhibition Hobart, No 104 (asBarges), 2 gns.


9. THE GREY BARGE 1936–37

Exhibitions: 7th–17th April 1937 AST 53rd Annual Exhibition Hobart, No87 (as The Grey Barge), 6 gns.


10. THE ‘WHITE PHEASANT’ GOULBOURN STREET 1936–37

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21.8× 25.7 cm (sight)signed lower left ‘H BUCKIE’, with ‘H’ and ‘B’ a monogramin original framing, mount and inscribed backing

A view of a house, previously the White Pheasant Hotel, at 22 Upper GoulbournStreet (before being re-numbered when Upper Goulburn Street was absorbedinto Goulbourn Street). The licence of the hotel appears to have been givenup in 1917 [22]. The site is currently the basketball court of Goulburn StreetSchool.An Englishman, transported for shooting a ‘white pheasant’, opened the inn onhis release after seven years incarceration. At the time there were nine otherpublic houses in the street.Two people are chatting by the gateway. The sunlight, shadows and well-chosenpalette give good depth to the work.The ‘White Pheasant’ is one of the first works Buckie painted in Tasmania,from a period when he painted exclusively in inner Hobart, after arriving fromQueensland in 1935 to take up his position as a draughtsman with the HydroElectric Commission. This watercolour, and one other, were shown in the March1937 exhibition of the Art Society, and painted sometime in the preceding twelvemonths.Verso, pasted on original brown paper covering the backing is a typed labelfrom the 1981 Tasmanian Art Gallery and Museum Retrospective Exhibition, ‘2‘THE WHITE PHEASANT’ GOULBOURN STREET, HOBART c1935’. Also[printed, in ink] ‘No 2 / The “White Pheasant” Goulbourn St.’ and [cursive,in older ink] ‘Donated by Mr. H. Buckie / Hydro dept / reserve £12-12- /auctioned 1 ∗ 3∗’. The inscription following the word ‘reserve’ has been over-written and underlined in pencil.The over-writing of ‘1 ∗ 3∗’, at least, was done at some time after the paperdeveloped aging cracks, and it is unclear if other characters lie under. The workmay have remained un-sold in 1937 and 1941 and later been donated by theartist for some charitable auction during the War years.Exhibitions: 7th–17th April 1937 AST 53rd Annual Exhibition Hobart, No88 (as The ‘White Pheasant’, Goulbourn Street), 7 gns.Possibly 25th March –6th April 1941 AST 57th Annual Exhibition Hobart, No67 (as The White Pheasant), 4 gns.8–27 September 1981 Harry Buckie Watercolours, TMAG Hobart, No 2 (asThe ‘White Pheasant’ Goulbourn Street, inscribed with title on backing board,collection Mr J.Rayner, dated as c1935).Provenance: Not known - Mr J Rayner - Not known - 2006 Private collection,Hobart.

11. THE OLD MILL, GORE STREET, HOBART c1937see catalogue number 12 on page 5424× 30.5 cmsigned lower left

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 3 (as The Old Mill, Gore Street, Hobart, dated as c1937, collectionMr R Wadsley).Provenance: Not known - Mr Wadsley - Not known.

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12. OLD MILL, GORE STREETsee catalogue number 11 on page 53blue pencil and watercolour22.8× 21.4 cmsigned lower left

Exhibitions: 23rd–30th September 1984 Art Acquisitions 1979–84 TMAG,Hobart, No 99 (as Old Mill, Gore Street).Provenance: 1984 TMAG, presented by Joan Buckie.

13. MOUNT DIRECTION FROM RISDON 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 26 (as Mount Direction from Risdon), 4 gns.Possibly 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 13 (asMt. Direction), 6 gns.Possibly 2nd–12th May 1962 78th Annual Exhibition Hobart, No 10 (as MtDirection), 18 gns.References:


14. Mt DOVE, FROM COLES BAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 27 (as Mount Dove, from Coles Bay), NFS.Provenance: Not known.

15. COLE’S BAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 28 (as Cole’s Bay), 5 gns.Provenance: Not known.

16. GREY DAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 29 (as Grey Day), 3 gns.Possibly 13th–16th December 1956 Open Air Art Festival Adult EducationBoard Hobart, No 209 (as A Grey day), 8 gns.Possibly 1972 AST 88th Annual Exhibition, No 11 (as Grey Day), $62Provenance: Not known.

17. THE CRUSHER 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 30 (as The Crusher), 4 gns.

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18. SLIPYARDS, SANDY BAY 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 31 (as Slip Yards, Sandy Bay), 4 gns.


19. DOMAIN SLIPS, ‘ALMA DOEPEL’ 1937–38

Exhibitions: 23rd March–2nd April 1938 AST 54th Annual Exhibition Hobart,No 32 (as Domain slips - ‘Alma Doepel’), 5 gns.


20. SHEDS 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 57 (as Sheds), 5 gns.


21. ELMS, MORNING 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 58 (as Elms, Morning), 5 gns.


22. ELMS 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 59 (as Elms), 5 gns.


23. REPAIRS TO ‘HUON CHIEF’ 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 60 (as Repairs to ‘Huon Chief ’), 4 gns.


24. THE PINE 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 61 (as The Pine), 4 gns.


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25. TO HOBART 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 62 (as To Hobart), 5 gns.


26. GREY AND YELLOW 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 63 (as Grey and Yellow), 4 gns.


27. FRUIT PACKING SHED, NEW NORFOLK 1938–39

Exhibitions: 21st March–2nd April 1939 AST 55th Annual Exhibition Hobart,No 64 (as Fruit Packing Shed, New Norfolk), 4 gns.


28. A QUIET STREET, NEW TOWN 1939–40

Exhibitions: 16th–28th April 1940 AST 56th Annual Exhibition Hobart, No40 (as A Quiet Street, New Town), 6 gns.


29. ALL SAINTS 1939–40

Exhibitions: 16th–28th April 1940 AST 56th Annual Exhibition Hobart, No41 (as All Saints), 6 gns.


30. A SUNNY MORNING 1939–40

Exhibitions: 16th–28th April 1940 AST 56th Annual Exhibition Hobart, No42 (as A Sunny Morning), 3 gns.


31. HOUSES IN MACQUARIE STREET c1940

26.5× 31 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 4 (as Houses in Macquarie Street, dated as c1940, collection Mrs DHamilton,( illust.)).

Provenance: Not known - Mrs Hamilton - Not known.

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32. WOMENS’ PENITENTIARY, CASCADES 194029× 33.5 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 5 (as Womens’ Penitentiary, Cascades, dated as 1940, collectionMr & Mrs L Roberts).Provenance: Not known - Mr & Mrs Roberts - Not known.

33. FROM REDCHAPEL BEACH 194024.5× 32 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 6 (as From Redchapel Beach, dated as 1940, collection Mrs K SScott).Provenance: Not known - Mrs K S Scott - Not known.

34. MORNING c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual ExhibitionTMAG Hobart, No 10 (as Morning), 8 gns.Provenance: Not known.

35. SLIPYARD c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual ExhibitionTMAG Hobart, No 11 (as Slipyard), 7 gns.Provenance: Not known.

36. THE RED HOUSE c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual ExhibitionTMAG Hobart, No 12 (as The Red House), 4 gns.Provenance: Not known.

37. L.F.B. 699 c1940

Exhibitions: 23rd October–3rd November 1940 TGP 1st Annual ExhibitionTMAG Hobart, No 13 (as ‘L.F.B. 699’), 5 gns.Provenance: Not known.

38. SANDSTONE 1940–41

Exhibitions: 25th March–6th April 1941 AST 57th Annual Exhibition Hobart,No 66 (as Sandstone), NFS.

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39. NEAR THE CASCADES 1940–41

Exhibitions: 25th March–6th April 1941 AST 57th Annual Exhibition Hobart,No 68 (as Near the Cascades), NFS.Provenance: Not known.

40. AN IDLE HOUR 194123.8× 24.5 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 7 (as An Idle Hour, dated as 1941, inscribed with title on backingboard, collection Mrs M Buckie).Provenance: Not known- Mrs Buckie - Not known.

41. FISHING c1941

Exhibitions: 22nd October–2nd November 1941 TGP 2nd Annual ExhibitionTMAG Hobart, No 14 (as Fishing), NFS.Provenance: Not known.

42. ‘WAVERLEY’, OATLANDS c1941

Exhibitions: 22nd October–2nd November 1941 TGP 2nd Annual ExhibitionTMAG Hobart, No 15 (as ‘Waverley’, Oatlands), 6 gns.Provenance: Not known.

43. EARLY MORNING c1941

Exhibitions: 22nd October–2nd November 1941 TGP 2nd Annual ExhibitionTMAG Hobart, No 16 (as Early Morning), NFS.Provenance: Not known.

44. SAWDUST AND SPIRE c1942

Exhibitions: 9th—23rd February 1943 TGP 1st Launceston Exhibition QV-MAG Launceston, No 13 (as Sawdust and Spire), 6 gns.Provenance: Not known.

45. ROAD TO THE FARM c1942

Exhibitions: 9th—23rd February 1943 TGP 1st Launceston Exhibition QV-MAG Launceston, No 15 (as Road to the Farm), 5 gns.Provenance: Not known.

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46. OLD STONE, ‘OKEHAMPTON’ 1941–43

Exhibitions: 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 14(as Old Stone, Okehampton), 6 gns.

8th–19th October 1947 TGP 8th Annual Exhibition TMAG Hobart, No 17 (asOld Stone), 6 gns.


47. BACKYARD, ‘OKEHAMPTON’ 1941–43

Exhibitions: 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 15(as Backyard, Okehampton), 6 gns.


48. THE GATE TO ‘OKEHAMPTON’ 1941–43

Exhibitions: 5th–16th May 1943 AST 58th Annual Exhibition Hobart, No 16(as The Gate to Okehampton), 3 gns.


49. Mt. DIRECTION 1942–43

Exhibitions: 9th—23rd February 1943 TGP 1st Launceston Exhibition QV-MAG Launceston, No 14 (as Mt Direction), 5 gns.

5th–16th May 1943 AST 58th Annual Exhibition Hobart, No13 (as Mt. Direc-tion), 6 gns.

1959 Paintings by Tasmanian Artists Adult Education Board, No 8 (as Mt.Direction), 14 gns.

1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 11 (as Mt.Direction), 17 gns.

2nd–12th May 1962 AST 78th Annual Exhibition Hobart, No 10 (as Mt Direc-tion), 18 gns.


50. BICHENO 1942


Painted on the artist’s honeymoon.

Exhibitions: 21st—31st October 1942 TGP 3rd Annual Exhibition TMAGHobart, No 34 (as Bicheno), NFS.

2nd–13th October 1946 TGP 7th Annual Exhibition TMAG Hobart, No 19 (asBicheno), NFS.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 9 (asBicheno, dated as 1942, inscribed with title on backing board, collection MrsM Buckie, (illust.)).

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Provenance: Mrs M Buckie - by descent.

51. THE CHANNEL, BICHENO 194226.1× 33.7 cmunsigned

Painted on the artist’s honeymoon.Exhibitions: 2nd–13th October 1946 TGP 7th Annual Exhibition TMAGHobart, No 20 (as The Channel), NFS.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 8 (asThe Channel (Bicheno), dated as 1942, inscribed with title on backing board,collection Mrs M Buckie).Provenance: Mrs M Buckie - by descent.

52. WHITE SANDS c1942

Exhibitions: 21st—31st October 1942 TGP 3rd Annual Exhibition TMAGHobart, No 35 (as White Sands), NFS.Provenance: Not known.

53. ROCK STUDY c1942

Exhibitions: 21st—31st October 1942 TGP 3rd Annual Exhibition TMAGHobart, No 36 (as Rock Study), NFS.31st October–10th November 1957 TGP 18th Annual Exhibition TMAG Ho-bart, No 16 (as Rock Study, East Coast), 10 gns.Provenance: Not known.

54. [THE BARN] 1942–4526.1× 36 cm (sight)signed lower right ‘H BUCKIE’, with ‘H’ and ‘B’ a monogram

The barn pictured is in the Tasmanian Midlands, but not at the Agnews’ prop-erty ’Waverley’ where the Buckies’ were regular visitors [11]. It may possiblyhave been at ’Okehampton’ on Tasmania’s East Coast. The Buckies visited‘Okehampton’ often in the 1940s, following Harry’s second marriage, and heshowed many watercolours painted at the property [6] during the period 1942-45. Unfortunately, most of the wooden buildings on the property vanished inthe 1967 bushfires.Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a mono-gram; from 1945 he signed ‘H BUCKIE’ with the ‘H’ and ‘B’ separated, or as‘H.BUCKIE’ until at least March 1948 and then as ‘Harry Buckie’. Thus thework is from a time no later than 1945.The painting was sold at Gowan’s Auctions in 2005 at about the time that theAgnews’ estate was being settled. In a moment of high drama another Buckiefarm scene The Stables at Waverley, painted circa 1945-53, was discovered andrescued from its place hidden between the support and backing of The Barn asthe latter was offered at the auction.

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Provenance: Not known - 5th August 2005 Ian Cornelius, Hobart - 9thSeptember 2006 Martin McBain, Launceston - 2008 Private collection, Hobart.

55. ‘OKEHAMPTON’ KITCHEN 194324.7× 32.7 cmsigned lower right ‘H.BUCKIE’

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No12 (as ‘Okehampton’ Kitchen), 6 gns.Possibly 1978 Fifty Years of Watercolour Painting in Tasmania 1928–1978 Uni-versity of Tasmania, No 8 (as Interior).8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 10(as Kitchen at Oakhampton [sic], dated as 1943, collection Mrs M Buckie).Provenance: Mrs Buckie - by descent.

56. INTERIOR 1943see catalogue number 55 on page 61

Exhibitions: 1978 Fifty Years of Watercolour Painting in Tasmania 1928–1978 University of Tasmania, No 8 (as Interior, 1943, 25 × 33 cm, lent by theartist).

57. OLD QUARRY c1943

Exhibitions: 4th—14th November 1943 TGP 4th Annual Exhibition TMAGHobart, No 24 (as Old Quarry), NFS.Provenance: Not known.

58. KNOCKLOFTY c1943

Exhibitions: 4th—14th November 1943 TGP 4th Annual Exhibition TMAGHobart, No 25 (as Knocklofty), 7 gns.Provenance: Not known.

59. TREES 1943–44

Exhibitions: 18th–30th April 1944 AST 59th Annual Exhibition Hobart, No14 (as Trees), 6 gns.Provenance: Not known.

60. OLD HOBART 1943–44see also catalogue number 108 on page 70

This is not the work shown under the title Old Hobart in 1981 at the TMAGretrospective Harry Buckie Watercolours exhibition.Exhibitions: 18th–30th April 1944 AST 59th Annual Exhibition Hobart, No15 (as Old Hobart), 6 gns.

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14th–25th October 1953 TGP 14th Annual Exhibition TMAG Hobart, No 4 (asOld Hobart), 8 gns.Provenance: Not known.

61. NEAR AUSTIN’S FERRY 1943–44

Exhibitions: 18th–30th April 1944 AST 60th Annual Exhibition Hobart, No16 (as Near Austin’s Ferry), 6 gns.Provenance: Not known.

62. GRANITE HILL AND BUTTON GRASS c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAGHobart, No 32 (as Granite Hill and Button Grass), 7 gns.Provenance: Not known.

63. WEEK-END COTTAGE c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAGHobart, No 33 (as Week-end Cottage), 5 gns.Provenance: Not known.

64. St JOHN’S, NEW TOWN c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAGHobart, No 34 (as St John’s, New Town), 5 gns.Provenance: Not known.

65. LANDSCAPE c1944

Exhibitions: 1st—12th November 1944 TGP 5th Annual Exhibition TMAGHobart, No 35 (as Landscape), 6 gns.Provenance: Not known.

66. DODGE’S FERRY BEACH 1944–45

Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 10(as Dodge’s Ferry Beach), 6 gns.Provenance: Not known.

67. TRANQUIL MORNING 1944–4532× 42 cmsigned lower right

Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 11(as Tranquil Morning), 9 gns.

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18th–29th October 1950 TGP 11th Annual Exhibition TMAG Hobart, No 13(as Tranquil Morning), 9 gns.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 12(as Tranquil Morning, dated as c1945, inscribed with title on backing board,collection Mrs M Peterson).Provenance: Not known - Mrs Peterson - Not known.

68. THE BLUFF 1944–45

Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 12(as The Bluff), 7 gns.Provenance: Not known.

69. WATERFRONT 1944–4533.5× 45 cmsigned ‘HBUCKIE’ [‘H’ and ‘B” in monogram] lower right

This was purchased by the TMAG Trustees on 11th May 1945, at the conclusionof the AST exhibition. The gallery catalogued it under the title Waterfront,Hobart.Exhibitions: 2nd–11th May 1945 AST 61st Annual Exhibition Hobart, No 9(as Water Front), 9 gns.1978 Fifty Years of Watercolour Painting in Tasmania 1928–1978 University ofTasmania, No 5 (as Waterfront, 45.2× 59 cm, (illust.)).8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 13(as Waterfront, Hobart, dated as 1945, inscribed with title on backing board,(illust.)).Provenance: Collection TMAG, acquired 1945.

70. THE DRY PADDOCK, SWANSEA possibly c194525.3× 34.8 cmsigned lower left ‘H.BUCKIE’

Inscribed verso on backing ‘”THE DRY PADDOCK”, SWANSEA. / NOT FORSALE. / HARRY BUCKIE’ together with label from 1981 retrospective exhi-bition.Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAGHobart, No 12 (as Dry Paddocks), 8 gns.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 11 (as‘The Dry Paddock’, Swansea, dated as c1945, inscribed with title on backingboard, (illust.), collection Mrs M Buckie).Provenance: Mrs Buckie - Not known.

71. WARTIME SHIPPING c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual ExhibitionTMAG Hobart, No 22 (as Wartime Shipping), 9 gns.

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72. RIVER SCENE c1945

Exhibitions: 21st July–10th August 1945 Australian Watercolour Institute22nd annual exhibition, Sydney, No 171 (as River Scene,7 gns.

8th–19th October 1947 TGP 8th Annual Exhibition TMAG Hobart, No 16 (asRiver Scene), 8 gns.


73. THE OLD WILLOW c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual ExhibitionTMAG Hobart, No 23 (as The Old Willow), 7 gns.

8th–19th October 1947 TGP 8th Annual Exhibition TMAG Hobart, No 15 (asOld Willow), 9 gns.


74. BOATS AT SANDY BAY c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual ExhibitionTMAG Hobart, No 24 (as Boats at Sandy Bay), 6 gns.


75. SHIPS AND LANDSCAPE c1945

Exhibitions: 31st October—11th November 1945 TGP 6th Annual ExhibitionTMAG Hobart, No 25 (as Ships and Landscape), 8 gns.


76. UP FOR REPAIRS 1945-46

Exhibitions: 21st March—4th April Launceston Art Society 1946 ExhibitionQVMAG Launceston, No 263b (in the collection of paintings by theTGP, as Upfor Repairs), 5 gns.


77. SUNBURNT COUNTRY 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart,No 5 (as Sunburnt Country), 8 gns.


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78. ROCKS 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart,No 6 (as Rocks), 7 gns.


79. REFLECTIONS 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart,No 7 (as Reflections), 7 gns.


80. GLIMPSE OF OLD BEACH 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart,No 8 (as Glimpse of Old Beach), 7 gns.


81. THE MOUNTAIN 1945–46

Exhibitions: 27th March–7th April 1946 AST 62nd Annual Exhibition Hobart,No 9 (as The Mountain, lent by Mrs I A Johnston), NFS.


82. DOWN ELPHINSTONE ROAD c1946

Exhibitions: 2nd–13th October 1946 TGP 7th Annual Exhibition TMAGHobart, No 21 (as Down Elphinstone Road), 8 gns.


83. GRAY’S BARN 1946–47see also catalogue number 54 on page 60

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No10 (as Gray’s Barn), 7 gns.


84. MIDLAND PASTURES no later than April 1947

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No9 (as Midland Pastures lent by Mr A R Sheepley), NFS.


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85. ‘OKEHAMPTON’ LANDSCAPE 1946–47

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No11 (as ‘Okehampton’ Landscape), 7 gns.


86. ‘OKEHAMPTON’ HOUSE 1946–47

Exhibitions: 16th–27th April 1947 AST 63rd Annual Exhibition Hobart, No12 (as ‘Okehampton’ House), 7 gns.


87. GUM TREES NEAR OATLANDS c1947

29.5× 34.5 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 16 (as Gum Trees near Oatlands, dated as c1947, inscribed withtitle on backing board, collection Mr L S Whitham).

Provenance: Not known- Mr Whitham - Not known.

88. FISHING BOY c1947

Exhibitions: 8th–19th October 1947 TGP 8th Annual Exhibition TMAG Ho-bart, No 18 (as Fishing Boy), NFS.


89. VICTORIA DOCK, ENTERPRISE IN BACKGROUND 1947


Exhibitions: 27th April–15th May 1978 Fifty Years of Watercolour Paintingin Tasmania 1928–78 University of tasmania, No. 6 (as Victoria Dock 1940,20.3× 26.4 cm, lent from a private collection).

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 14 (asVictoria Dock, ‘Enterprise’ in Background, dated as 1947, (illust.), collectionMr & Mrs Hope-Johnstone).

Provenance: Mr & Mrs R Hope-Johnstone.

90. BUSH AT CHAUNCY VALE c1948

Exhibitions: July 1948 Australian Watercolour Institute 25th annual exhibi-tion, Sydney, No 13 (as Bush at Chauncy Vale,9 gns.


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91. FEDERATION PEAK 30th December 194728.5× 43.5 cmsigned and dated ‘H BUCKIE / 30/12/47’ lower right

Exhibitions: 1978 Fifty Years of Watercolour Painting in Tasmania 1928–1978 University of Tasmania, No 7 (as Federation Peak, 1947, 28.5×44 cm, lentfrom a private collection).8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 15(as Federation Peak from Huon Plains, dated as 1947, inscribed with title onbacking board, (illust.), collection Mr & Mrs Hope-Johnstone).Provenance: Mr & Mrs R Hope-Johnstone - Not known.

92. FEDERATION PEAK FROM THE CRACROFT PLAINS December1947–January 194829.5× 33 cm (sight)signed lower right ‘H BUCKIE’

The scene is painted from on or near McKay’s Track at the Cracroft Crossing.The viewer looks across the Cracroft Plains, through a gap in the Arthur Rangewith, appropriately, Mount Piguenit on the left and Lucifer Ridge on the right,to Federation peak.It is a fine example of a Tasmanian wilderness landscape. The colouring ofbare rocky slopes contrasts with the characteristic greens of the southwesternvegetation. Shadow on the right-hand ridge and swirling cloud hint at theunreliable weather of the region.An almost identical painting of Federation Peak, (from Huon Plains [sic]) [13,cat.no.15, illust.], was painted by Buckie, as rain swept nearer and companionsgrew edgy [14], on the walk out to Geeveston from Lake Pedder after the firstlanding by aeroplane on the beach of Lake Pedder in December 1947.The weather must have also been a factor in this work as some washes inthe foliage are darker at the edges suggesting more hurried application thancustomary. Also pencilled-in cumulus clouds were overtaken by events and anominous swirling bank of raincloud painted in their place!The two works are identical in composition. Each was painted from a spot nearthe Cracroft Crossing at the edge of the Cracroft Plains (mistakenly called theHuon Plains in [13, catalogue no. 15]).Buckie exhibited one painting from his 1947-48 trip to Pedder [6, 1948 cata-logue], and no more from the Lake Pedder area until he showed six paintings,five of views near Pedder and one of Mt. Wedge, in March 1954, [6, 1954catalogue], and a few in later years.We know that Harry visited Lake Pedder in the summer of 1947-48, walkingout via Geeveston. We infer from the above paragraph that he did not re-visitthe area until the summer of 1953-54, and moreover it is likely that he flewin, walked and painted in the vicinity of the lake, and painted Mt Wedge [6,catalogue no. 7] on the walk out. Mt. Wedge, not easily seen from the trackto Geeveston, is a natural subject for painting from the alternative route outto Maydena. We conclude that on this 1953-54 visit Buckie’s party walked outvia Maydena rather than Geeveston.As Federation Peak from the Cracroft Plains was painted from a point on thetrack to Geeveston, not the track to Maydena, we tentatively conclude that it

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was painted in the summer of 1947-48 rather than on Buckie’s later visit toLake Pedder.

The signature lends weight to this view. Prior to 1945 Buckie signed his work‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; from 1945 he signed as ‘HBUCKIE’ or ‘H.BUCKIE’ until after October 1949 using only ‘Harry Buckie’.Thus the signature ‘H BUCKIE’ on Federation Peak, from the Cracroft Plainsalso supports the summer of 1947-48 as the work’s date rather than the summerof 1953-54.

On balance, we incline to the view that Buckie painted Federation Peak twiceon his first trek, firstly on 30th December 1947 [13, catalogue no. 15, dated30.12.47] under difficult conditions [14], and a second time under more relaxedconditions probably on the last day of the old year. This work is the latterpainting.


93. MOUNTAINS OF THE SOUTH-WEST 1947–48

Exhibitions: 7th–18th April 1948 AST 64th Annual Exhibition Hobart, No11 (as Mountains of the South-West), 12 gns.


94. JORDAN RIVER January–March 1948

24.7× 32.8 cm (sight)signed lower right ‘H.BUCKIE’in the original Hook frame and mount

A view across the Cove Hill Road bridge over the River Jordan, some threekilometers upstream from the mouth of the stream. The bridge still exists aspainted.

Exhibitions: 7th–18th April 1948 AST 64th Annual Exhibition Hobart, No12 (as Jordan River), 8 gns.

Provenance: Not known - Yorktown Gallery, Launceston - 2007 Private col-lection, Hobart.

95. VICTORIA DOCK, HOBART 1948–49


Exhibitions: Possibly 30th March–10th April 1949 AST 65th Annual Exhibi-tion Hobart, No 17 (as Victoria Dock), 10 gns.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 26(as Victoria Dock, Hobart, Tasmania, dated as 1955, inscribed with title onverso, collection Mrs P M Myhill).

Provenance: Mrs P M Myhill - Not known.

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96. CANAL ENTRANCE, DUNALLEY 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho-bart, No 18 (as Canal Entrance, Dunalley), 7 gns.Provenance: Not known.

97. OLD BUILDING, CAMPBELL TOWN 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho-bart, No 19 (as Old Building, Campbell Town), 8 gns.Provenance: Not known.

98. NEAR WILMOT HARBOUR 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho-bart, No 20 (as Near Wilmot Harbour), 6 gns.Possibly 5th–19th October 1949 TGP 10th Annual Exhibition TMAG Hobart,No 22 (as Wilmot Harbour), 7 gns.Provenance: Not known.

99. THE LEVEN, ULVERSTONE 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho-bart, No 21 (as The Leven - Ulverstone), 7 gns.Provenance: Not known.

100. FARM WAGGON 1948–49

Exhibitions: 30th March–10th April 1949 AST 65th Annual Exhibition Ho-bart, No 22 (as Farm Waggon), 5 gns.Provenance: Not known.

101. A TASMANIAN VALLEY c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAGHobart, No 19 (as A Tasmanian Valley), 10 gns.Provenance: Not known.

102. VILLAGE UNDER THE CLIFF c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAGHobart, No 20 (as Village under the Cliff), 9 gns.22nd–31st March 1950 Tasmanian Art Arts Council of Australia ACT DivisionCanberra, No 24 (as Village under the Cliff), 10 gns.Provenance: Not known.

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103. TREES AT ORFORD c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAGHobart, No 21 (as Trees at Orford), 8 gns.Provenance: Not known.

104. THE TALL GUM c1949

Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAGHobart, No 23 (as The Tall Gum), 7 gns.Provenance: Not known.

105. OLD BARN c1949signed lower right ‘Harry Buckie’

There is a photograph of the painting in the possession of a member of theartist’s family [10].Exhibitions: 5th–19th October 1949 TGP 10th Annual Exhibition TMAGHobart, No 24 (as Old Barn), 6 gns.Provenance: Not known.

106. MOLE CREEK 1948–49

Exhibitions: 12th November 1949 AST Exhibition Lady Franklin MuseumHobart, No 3 (as Mole Creek), 10 gns.Provenance: Not known.

107. BOATS AT PORT ADELAIDE c1949

Exhibitions: 12th November 1949 AST Exhibition Lady Franklin MuseumHobart, No 4 (as Boats at Port Adelaide), 7 gns.Provenance: Not known.

108. MONTPELIER RETREAT c1950see also catalogue number 60 on page 6124.5× 34.5 cmsigned lower right ‘Harry Buckie’

Inscribed on the backing verso, by Henry Allport,

‘The Montpelier Retreat, originally a Public House in MontpelierStreet, Hobart, by Harold [sic] Buckie, 1950’

this Battery Point streetscape of a house in Montpelier Retreat viewed fromJames Street is likely to have been acquired from Buckie directly by Allportand thence passed to the Allport Collection.It was shown at the 1981 TMAG retrospective exhibition of Harry Buckie’swatercolours as Old Hobart.

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However we believe that it was catalogued there under an incorrect title. It isnot Old Hobart, catalogue number 60 on page 61, which dates from the years1943–44. The signature on Montpelier Retreat supports a date no earlier than1948 (see page ??), thus agreeing with Allport’s annotation. In support of thisconclusion, a photograph of the painting in the possession of a relative [10] islabelled ‘Montpelier Retreat’. We note in passing that Allport’s annotationdoes contain one error; Buckie’s name was ‘Harry’ not ‘Harold’.Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 21 (as Old Hobart, dated 1950, inscribed by Henry Allport ‘TheMontpelier Retreat, originally a Public House in Montpelier Street, Hobart, byHarold [sic] Buckie, 1950’ on backing board, (illust.)).Provenance: Not known - Allport Museum.

109. THE WORKSHOP AT ‘WAVERLEY’ 195021.5× 31.2 cmsigned lower centre

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 18 (as The Workshop at Waverley, dated as 1950, collection MrStewart Agnew).Provenance: Not known- Mr Agnew - Not known.

110. THE VERANDAH AT ‘WAVERLEY’ 195031.5× 36.5 cmsigned and dated lower right,inscribed ‘To Marie and Stewart from Marg and Harry’ lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 19 (as The Verandah at Waverley, dated 1950, collection Mr StewartAgnew).Provenance: Not known- Mr Agnew - Not known.

111. INSIDE ‘WAVERLEY’ 195031× 36.5 cmsigned and dated lower right,

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 20 (as Inside ‘Waverley’, dated 1950, collection Mr Stewart Agnew).Provenance: Not known- Mr Agnew - Not known.

112. THE STABLES AT ‘WAVERLEY’ between 1945–49, c194929× 37.3 cm (sight)signed lower right ‘H BUCKIE’

The sandstone stables are on the ‘Waverley’ property west of Oatlands in theTasmanian Midlands. The foreground is dry grass with a dirt track and rocksleading to the building. The clear sky and sharp shadows give a strong feelingof mid-summer.

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“. . . it is one of his best. . . , masterly in the subtle variations in the treatmentof the stone, and his little ‘colour touches’ in the hint of rust on the roof.” [10].

Buckie has created the effect of distance and hillside in the almost featurelessstraw coloured grass of the foreground, and made the pine tree solid and darkin an excellent but simple composition.

The Agnew family owned the ‘Waverley’ property a few miles west of Oatlands.They raced ‘Abyssinia’, a Melbourne Cup winner, which has its grave andtombstone near the road into the property. The famiy later ‘got religion’ andalso lost heavily during the Depression. Consequently they chose to live inHobart with the children, including their son Stewart, rather than send themto boarding school.

At this time Patricia Scott’s father leased ‘Waverley’, and Patricia remembersthat her nieces called the derelict stables ‘Rat and Mouse House’ for obviousreasons! Stewart lived on the property with them after finishing school. Hemarried Marie Reynolds on 20 December 1939 and ran the property himself formany years.

The second Mrs. Buckie [11] was a good friend of Marie, and after she andHarry married in 1942 they often travelled to Oatlands by bus, were met, andspent time at ‘Waverley’. Three watercolours arising from these visits, all dated1950, were loaned by Stewart Agnew for the Buckie Retrospective Exhibition[13]. We thus have reasonable grounds for believing this painting is from thesame period.

The signature ‘H BUCKIE’ lends weight to this view. Prior to 1945 Buckiesigned his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a monogram; from 1945he signed as ‘H BUCKIE’ or ‘H.BUCKIE’, until by October 1949 switchingpermanently to ‘Harry Buckie’.

The painting was discovered at Gowan’s Auctions in 2005, tucked between an-other Buckie farm scene and its backing. The support of The Stables, Waverleyis pasted to cardboard, On the left-hand side of the cardboard, beside the pa-per support, is a sketch of a seated older woman, in blue ballpoint pen. Thepainting itself is in excellent condition.


113. THE LAST OF THE BARGES c1949

30× 39 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 17 (as The Last of the Barges, dated as c1949, inscribed with titleon backing board, collection Mrs N R Thompson).

Provenance: Not known- Mrs Thompson - Not known.

114. SHIPS IN PORT 1949–50

Exhibitions: 19th–30th April 1950 AST 66th Annual Exhibition Hobart, No12 (as Ships in Port), 8 gns.


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115. DOCK SCENE 1949–50

Exhibitions: 19th–30th April 1950 AST 66th Annual Exhibition Hobart, No13 (as Dock Scene), 8 gns.Provenance: Not known.

116. OLD BUILDINGS, HAMILTON 1949–50

Exhibitions: 19th–30th April 1950 AST 66th Annual Exhibition Hobart, No14 (as Old Buildings, Hamilton), 8 gns.Provenance: Not known.

117. GUMS IN SUNLIGHT c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAGHobart, No 14 (as Gums in Sunlight), 10 gns.Provenance: Not known.

118. A HOT DAY c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAGHobart, No 15 (as A Hot Day), 12 gns.Provenance: Not known.

119. Mt ANN [sic] - Southwest Tasmania summer 1947–48

Exhibitions: 22nd–31st March 1950 Tasmanian Art Arts Council of AustraliaACT Division Canberra, No 25 (as Mt Ann - Southwest Tasmania), NFS.Provenance: Not known.

120. LUNAWANNA JETTY by 1950

Exhibitions: 22nd–31st March 1950 Tasmanian Art Arts Council of AustraliaACT Division Canberra, No 26 (as Lunawanna Jetty), 9 gns.Provenance: Not known.

121. GREY DAY IN THE BUSH c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAGHobart, No 16 (as Grey Day in the Bush), 10 gns.Provenance: Not known.

122. AFTERNOON LIGHT c1950

Exhibitions: 18th–29th October 1950 TGP 11th Annual Exhibition TMAGHobart, No 17 (as Afternoon Light), 10 gns.

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123. LOW TIDE 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No1 (as Low Tide), 10 gns.Provenance: Not known.

124. A GLIMPSE OF Mt. OWEN 1950–51

Exhibitions: 11th–25th April 1951 67th AST Annual Exhibition Hobart, No2 (as A Glimpse of Mt Owen), 10 gns.Provenance: Not known.

125. CRADLE MOUNTAIN 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No3 (as Cradle Mountain), 10 gns.Provenance: Not known.

126. TALL TREES, NEAR SHEFFIELD 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No4 (as Tall Trees, near Sheffield), 8 gns.Provenance: Not known.

127. OLD COTTAGE, NEAR OATLANDS 1950–51

Exhibitions: 11th–25th April 1951 AST 67th Annual Exhibition Hobart, No5 (as Old Cottage near Oatlands), 9 gns.Provenance: Not known.

128. BURNT TREES 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart,No 11 (as Burnt Trees), NFS.November 1965 Exhibition of Paintings. Harry Buckie and Elspeth VaughanLloyd Jones Art Gallery Hobart, No 14 (as Burnt Trees), 23 gnsProvenance: Not known.

129. RAIN OVER MARIA ISLAND 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart,No 12 (as Rain over Maria Island), 7 gns.Provenance: Not known.

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130. VICTORIA STREET 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart,No 13 (as Victoria Street), 8 gns.Provenance: Not known.

131. MOUNTAIN TOPS FROM LAKE TAHUNE 1951–52

Exhibitions: 23rd April–5th May 1952 AST 68th Annual Exhibition Hobart,No 14 (as Mountain Tops from Lake Tahune), 8 gns.Possibly 15th–26th October 1952 TGP 13th Annual Exhibition TMAG Hobart,No 9 (as Mountain Tops), 10 gns.Provenance: Not known.

132. SCHOUTEN ISLAND c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAGHobart, No 10 (as Schouten Island), 7 gns.Provenance: Not known.

133. THE ACROPOLIS c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAGHobart, No 11 (as The ‘Acropolis’), 12 gns.Provenance: Not known.

134. REDBANKS SWANSEA c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAGHobart, No 13 (as Redbanks, Swansea), 8 gns.Possibly 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No 13 (asRedbanks near Swansea), 12 gns.Provenance: Not known.

135. FISHERMENS’ SHACKS, BICHENO c1952

Exhibitions: 15th–26th October 1952 TGP 13th Annual Exhibition TMAGHobart, No 14 (as Fishermens’ Shacks, Bicheno), 6 gns.Provenance: Not known.

136. ‘WOOLNORTH’ PASTURES 195226.3× 37.7 cmsigned lower centre

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No8 (as Woolnorth Pastures), 8 gns.

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8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 23 (as‘Woolnorth’ Pastures, dated as 1952, collection Mr & Mrs R Hope-Johnstone).Provenance: Mr & Mrs Hope-Johnstone.

137. THE WRECK OF THE ‘COLLIBOI’ 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No9 (as Wreck of the ‘Colliboi’), 7 gns.Provenance: Not known.

138. HOPFIELDS, DERWENT VALLEY 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No10 (as Hopfields, Derwent Valley), 6 gns.Provenance: Not known.

139. QUIET MOORINGS 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No11 (as Quiet Moorings), 7 gns.Provenance: Not known.

140. SWANSEA LANDSCAPE 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No12 (as Swansea Landscape), 8 gns.Provenance: Not known.

141. RED BOATS 1952–53

Exhibitions: 16th–28th April 1953 AST 69th Annual Exhibition Hobart, No13 (as Red Boats), 7 gns.Provenance: Not known.

142. ABORIGINAL CARVINGS, TASMANIA c1953

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAGHobart, No 5 (as Aboriginal Carvings, Tasmania), 7 gns.Provenance: Not known.

143. TREE CONTRASTS c1953

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAGHobart, No 6 (as Tree Contrasts), 9 gns.Provenance: Not known.

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144. RIVER BANK, SWANSEA c1953

Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAGHobart, No 7 (as River Bank, Swansea), 8 gns.

26th–30th November 1962 Tasmanian Watercolours Today Adult EducationBoard Southern Series Launceston, No 11 (as River Bank), 35 gns.

7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery HamiltonVictoria, No 9 (as River Bank), $50.


145. THE BARGE ‘ENTERPRISE’ c1953


Exhibitions: 14th–25th October 1953 TGP 14th Annual Exhibition TMAGHobart, No 8 (as The Barge ‘Enterprise’), 12 gns.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 33 (asThe Barge ‘Enterprise’, dated as c1962, inscribed with title on backing board,collection J Hooper).

Provenance: J Hooper.

146. Mt SOLITARY, LAKE PEDDER IN FOREGROUND January 1954


Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 24 (as Mt Solitary, Lake Pedder in Foreground, dated as c1953,collection Mr L S Whitham).

Provenance: Mr L S Whitham.

147. CORONATION PEAK, FRANKLAND RANGE January 1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart,No 4 (as Coronation Peak, Frankland Range), 12 gns.


148. A GLIMPSE OF LAKE PEDDER January 1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart,No 5 (as A Glimpse of Lake Pedder), 10 gns.


149. LAKE PEDDER BEACH January 1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart,No 6 (as Lake Pedder beach), 8 gns.

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150. Mt WEDGE January1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart,No 7 (as Mt Wedge), 8 gns.23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart, No 4 (as MtWedge), 8 gns.Provenance: Not known.

151. RAIN PASSING FROM THE FRANKLANDS January1954

Exhibitions: 24th March–6th April 1954 AST 70th Annual Exhibition Hobart,No 8 (as Rain Passing from the Franklands), 10 gns.Provenance: Not known.

152. CLOUD OVER Mt ANNE January 1954

Exhibitions: 24th March–6th April 1954 70th Annual Exhibition Hobart, No9 (as Cloud over Mt Anne), 8 gns.Provenance: Not known.

153. PORTION OF LAKE PEDDER January 195431.5× 42 cmsigned lower left

Exhibitions: 17–26 October 1974 Australian Watercolour Institute 51st annualexhibition, Sydney, No 24 (as Portion of Lake Pedder Beach, Tasmania), $80.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 25(as Portion of Lake Pedder, South West Tasmania, dated as 1954, (illust.),collection Mr & Mrs R Hope-Johnstone).Provenance: Mr & Mrs R Hope-Johnstone.

154. LAKE PEDDER January 1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAGHobart, No 9 (as Lake Pedder), 15 gns.May 1954 Tasmanian Sesquicentenary Art Competition TMAG Hobart, No 6(as Lake Pedder, S.W. Tasmania).Provenance: Not known.

155. MERIDETH [sic] RIVER c1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAGHobart, No 10 (as Merideth River), 10 gns.Provenance: Not known.

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156. GREENLEES c195427.3× 38 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 22 (as Greenlees, dated as c1954, collection Mrs A R Ockendon,).Provenance: Mrs Ockendon.

157. PETER AND PAUL, OYSTER BAY c1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAGHobart, No 11 (as Peter and Paul, Oyster Bay), 5 gns.Provenance: Not known.

158. PORTRAIT OF A DINGHY c1954

Exhibitions: 20th–31th October 1954 TGP 15th Annual Exhibition TMAGHobart, No 12 (as Portrait of a Dinghy), 8 gns.Provenance: Not known.

159. GREY MORNING, EAST COAST 1954–55

Exhibitions: 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart,No 5 (as Grey Morning, East Coast), 10 gns.Provenance: Not known.

160. QUARTZITE ROCKS, LAKE PEDDER 1954–55

Exhibitions: 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart,No 6 (as Quartzite Rocks, Lake Pedder), 12 gns.Provenance: Not known.

161. SEA PIECE 1954–55

Exhibitions: 23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart,No 7 (as Sea Piece), 7 gns.28th May–10th June 1968 AST 84th Annual Exhibition Hobart, No 11 (as SeaPiece), $60.c1970 Australia Junior Chamber of Commerce Community Art Exhibition Ho-bart, No 3 (as Sea Piece), $60.Provenance: Not known.

162. GREEN FIELD 1954–55

Exhibitions: .23rd March–3rd April 1955 AST 71st Annual Exhibition Hobart,No 8 (as Green Field), 10 gns.

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163. LOW TIDE, SWANSEA c1955

Exhibitions: 19th–30th October 1955 TGP 16th Annual Exhibition TMAGHobart, No 11 (as Low Tide, Swansea), 15 gns.Provenance: Not known.

164. DEAD TREE PATTERN 195535.2× 33.2 cm (sight)signed lower right ‘Harry Buckie’in the artist’s original framing and hand-painted French-lined mount

A view of dead gums in a pasture, probably at ’Waverley’ near Oatlands, withthe Central Highlands as a distant backdrop.Removing the mount reveals more of the original painting, which measured atleast 39.5×41.5cm. Buckie drew several pencil outlines for positioning a mount,focusing attention on the foreground tree for a well-balanced composition. Theomitted area, mainly foreground, has been partially torn away, and Buckie hasre-signed the work (with an erased signature a little to the right of the inkedfinal version).The masking of strongly coloured foreground grass and red-brown soil by themount, has focussed attention on the complex shapes of the trunks and branchesof the few dead trees. Buckie’s aim is epitomised by his choice of title, namelyDead Tree Pattern.The paper support was glued to a larger piece of cardboard. Interestingly, thiscardboard is also secondhand, as verso are the few remains of another water-colour, presumably also by Buckie, and its mount. Remaining fragments ofpencilled outlining here are consistent with his general practice (see, for exam-ple, recto). The home-made frame is painted white, and it and the mount offeran attractive and economical setting for the watercolour. We have preservedthis presentation.Verso on Buckie’s hand-painted mount [printed, blue ink, in the artist’s hand]’VICTORIA D[missing] / £15 − 1[missing] / H. [missing]’. This strongly sup-ports the case for this cardboard to have originally been used as a backingboard for another painting. From [13] it is tempting to assume that the work inquestion was the 1955 work Victoria Dock, Hobart, Tasmania, as this seems tobe the only painting with a suitable title that was painted when Buckie’s workswere offered at fifteen guineas. This confirms 1955 as an earliest date for theframing of Dead Tree Pattern. The style of signature [see relevant chapter, thisarticle] is from a date after 1950, agreeing with our discussion.Together with an exhibition date in 1955, this information puts the date for thepainting of Dead Tree Pattern in the year 1955. The omitted foreground is veryreminiscent of that in The Stables at ‘Waverley’ and suggests that the two werepainted circa 1950 when the Buckies were frequent guests at ’Waverley’.Exhibitions: 19th–30th October 1955 Tasmanian Group of Painters 16th An-nual Exhibition Hobart, No 12 (as Dead Tree Pattern), 12 gns.Provenance: Not known - 12th July 2008 Gowan’s Antique Auction - 2008Private collection, Hobart.

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165. LAKE PEDDER BEACH, LATE AFTERNOON c1955

Exhibitions: 19th–30th October 1955 TGP 16th Annual Exhibition TMAGHobart, No 13 (as Lake Pedder Beach, Late Afternoon), ? gns.Provenance: Not known.

166. A VIEW OF SWANSEA AND SCHOUTEN MAIN c1955reproduced in monochromeas front and back cover of‘Pioneers of the East Coats from 1642’ by Karl von Stieglitz, OBE

Provenance: Returned Serviceman’s League - Not known.

167. BARN AT ‘COSWELL’ c1955

Exhibitions: 19th–30th October 1955 TGP 16th Annual Exhibition TMAGHobart, No 14 (as Barn at ‘Coswell’), 10 gns.Provenance: Not known.

168. Mt SOLITARY, TOWARDS SUNSET 1955–5634.5× 41.5 cmsigned lower right

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No11 (as Mt Solitary, towards Sunset), 20 gns.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 32(as Mt Solitary towards Sunset, South West Tasmania, dated as 1960, inscribedwith title on backing board, collection G A Cole).Provenance: Not known - G Cole.

169. Mt SOLITARY FROM LAKE PEDDER CAMP 1955–56

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No12 (as Mt Solitary from Lake Pedder Camp), 12 gns.Provenance: Not known.

170. Mt. SOLITARY SOUTH WEST TASMANIA

Exhibitions: December 1972 The Tasmanian Landscape, No 6 (as Mt. SolitarySouth West Tas.), $62.Provenance: Not known.

171. ISOLATED MOUNTAIN AND Mt. ANNE

Exhibitions: May 1954 Tasmanian Sesquicentenary Art Competition TMAGHobart, No 14 (as Isolated Mountain and Mt. Anne).

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172. GREY AND GREEN, MEREDITH RIVER 1955–56see also catalogue number 155 on page 78

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No14 (as Grey and Green, Meredith River), 10 gns.


173. BUSH 1955–56

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No15 (as Bush), 8 gns.


174. A SHIP IN PORT 1955–56

Exhibitions: 2nd–13th May 1956 AST 72nd Annual Exhibition Hobart, No16 (as A Ship in Port), 10 gns.

7th–19th June 1966 Max Angus, et al City of Hamilton Art Gallery HamiltonVictoria, No 8 (as Rough Sea, East Coast), $50.


175. THE DERWENT FROM TAROONA HEIGHTS c1956

25.2× 35.8 cm (sight)signed lower left ‘Harry Buckie’in the artist’s hand-painted mount

The scene looks across partially cleared paddocks to the Lower Derwent fromBonnet Hill near Taroona as a small steamer sails downstream.

It is a very fine example of a complex and detailed landscape in the Cotmantradition. The bare minimum of initial pencil outlining combined with sureflowing of subtle variations of greens onto the paper has produced a compellingcombination of grass and bush, sun and shade. The lightening of the distantEastern Shore hills, done with deceptive ease, adds to the effect of depth createdby sky and water.

The work shows the view from Bates’ property in the hills south of Taroona. Itpassed to Mr. Bates’ son by descent and first appeared in the public domain atauction in May 2005.

Prior to 1945 Buckie signed his work ‘HBUCKIE’ with the ‘H’ and ‘B’ a mono-gram; from 1945 he signed as ‘H BUCKIE’ or ‘H.BUCKIE’, until by October1949 switching permanently to ‘Harry Buckie’. P We thus have reasonablegrounds for believing this painting to be from the period after October 1949.

In addition, we know from annotations [6, 1956 catalogue], that Mr. Bates tookan option on a Buckie painting in March 1956, and later cancelled it. He mayhave decided instead to commission The Derwent from Taroona Heights directlyfrom the artist.

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The brown cardboard mount is hand-painted by Buckie in light grey separatedfrom a white inner band by a thin ruled pencil line. This French-lining style,popularised in Tasmania by Launceston artist-framer Geoff Tyson, is charac-teristic of Buckie’s framing at this time. There is neither foxing nor noticeablefading of the watercolour.

The support is pasted to a brown cardboard backing. Verso, on the backing,top right [in biro] ‘THE DERWENT FROM TAROONA HEIGHTS’, top left[in pencil] ‘Mr. Bates / c/o Leyland Motors / 20 + 16 / 11/2 DD Wax Nat /acs(?) / 14th Feb’.

Provenance: Commissioned by the family of Mr. Norman Bates (1931-2003)- 2003 By descent - 2005 Private collection, Hobart.

176. ROCKS AT SWANSEA c1956

Exhibitions: 17th–28th October 1956 TGP 17th Annual Exhibition TMAGHobart, No 11 (as Rocks at Swansea), 12 gns.

13th–16th December 1956 Open Air Art Festival Adult Education Board Ho-bart, No 210 (as Rocks at Swansea), 12 gns.


177. THE BLACK ROCK, SWANSEA 1956–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium CollinsSt Hobart, No 18 (as The Black Rock, Swansea), 15 gns.


178. IN SALAMANCA PLACE 1956-57

Exhibitions: 27th March–28th April 1957 First Tasmanian Art Gallery Exhi-bition TMAG Hobart, No 6 (as In Salamanca Place), 15 gns.


179. MARION BAY BEACH 1956


Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton ArtGallery Hamilton Victoria, No 12 (as Marian [sic] Bay Beach), $50.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 27(as Marion Bay Beach, dated 1956, collection Mr & Mrs R Hope-Johnstone).

Provenance: Mr & Mrs R Hope-Johnstone.

180. ACROSS THE DERWENT c1956

Exhibitions: 17th–28th October 1956 TGP 17th Annual Exhibition TMAGHobart, No 12 (as Across the Derwent), 12 gns.

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Possibly 13th–16th December 1956 Open Air Art Festival Adult EducationBoard Hobart, No 208 (as Across the River), 12 gns.Provenance: Not known.

181. ACROSS THE RIVERsee catalogue number 181 on page 84

Exhibitions: 13th–16th December 1956 Open Air Art Festival Adult Educa-tion Board Hobart, No 208 (as Across the River), 12 gns.

182. Mt DROMEDARY c1956

Exhibitions: 17th–28th October 1956 TGP 17th Annual Exhibition TMAGHobart, No 13 (as Mt Dromedary), 12 gns.Provenance: Not known.

183. LAKE PEDDER, WEST c1957

Exhibitions: 31st October–10th November 1957 TGP 18th Annual ExhibitionTMAG Hobart, No 14 (as Lake Pedder, West), NFS.Provenance: Not known.

184. LAKE PEDDER, EAST c1957

Exhibitions: 31st October–10th November 1957 TGP 18th Annual ExhibitionTMAG Hobart, No 15 (as Lake Pedder, East), 15 gns.Provenance: Not known.

185. LAKE KING WILLIAM c1957

Exhibitions: 31st October–10th November 1957 TGP 18th Annual ExhibitionTMAG Hobart, No 17 (as Lake King William), 14 gns.Provenance: Not known.

186. THE RED TRACK, SWANSEA 1957–58

Exhibitions: 7th–18th May 1958 74th AST Annual Exhibition Hobart, No 6(as The Red Track, Swansea), 12 gns.Provenance: Not known.

187. EAST COAST c195724× 34 cmsigned lower right

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium CollinsSt Hobart, No 10 (as East Coast) 15 gns.

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8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 28(as East Coast, dated as c1957, inscribed with title on backing board, collectionMiss E H Sargeant).Provenance: Miss E H Sargeant - Not known.

188. TRAMPS ON THE YARRA 1 1957–58

Exhibitions: 7th–18th May 1958 AST 74th Annual Exhibition Hobart, No 7(as Tramps on the Yarra 1), 12 gns.Provenance: Not known.

189. TRAMPS ON THE YARRA 2 1957–58

Exhibitions: 7th–18th May 1958 AST 74th Annual Exhibition Hobart, No 8(as Tramps on the Yarra 2), 10 gns.Provenance: Not known.

190. RED TRAMP ON THE YARRA 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium CollinsSt Hobart, No 20 (as Red Tramp on the Yarra ), 15 gns.Provenance: Not known.

191. BOAT HARBOUR, WYNYARD 1957–58

Exhibitions: 7th–18th May 1958 AST 74th Annual Exhibition Hobart, No 9(as Boat Harbour, Wynyard), 12 gns.Provenance: Not known.

192. TREES BY THE SEA 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium CollinsSt Hobart, No 19 (as Trees by the Sea), 10 gns.Provenance: Not known.

193. TWO GATES 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium CollinsSt Hobart, No 16 (as Two Gates), 15 gns.Provenance: Not known.

194. GUM TREE AND BARN 1957–58

Exhibitions: 1958 Exhibition of Water Colours Fitzgeralds Auditorium CollinsSt Hobart, No 17 (as Gum Tree and Barn), 15 gns.Provenance: Not known.

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195. A QUIET MORNING 1957–58

Exhibitions: 26th March–27th April 1958 2nd Tasmanian Art Gallery Exhi-bition TMAG Hobart, No 7 (as A Quiet Morning), 15 gns.


196. Mt DIRECTION FROM THE DOMAIN c1958

27× 36.5 cmsigned lower right

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart,No 8.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 29(as Mt Direction from the Domain, Hobart, dated as c1958, inscribed with titleon backing board, (illust.), collection Mr W A Ihlenfeld).

Provenance: Mr W A Ihlenfeld - Not known.

197. AYERS ROCK, CENTRAL AUSTRALIA 1958

35× 48 cmsigned lower left

Exhibitions: 1964 Summer Art Exhibition Adult Education Board Cat andFiddle Arcade Hobart & Trustees’Court and Arcade Launceston, No 22 (asAyers Rock, Northern Territory), 25 gns.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 30 (asAyers Rock, Central Australia, dated as 1959, inscribed with title on backingboard, collection Mrs M Boreham).

Provenance: Mrs M Boreham - Not known.

198. CEREMONIAL ROCK AND PALM PADDOCK 1958

27.5× 38 cmsigned lower left

Exhibitions: 1959 Exhibition of Watercolours, Central Australia, by HarryBuckie Fitzgerald’s Auditorium Hobart, No 6.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 29(as Mt Direction from the Domain, Hobart, dated as c1958, inscribed with titleon backing board, collection Mrs J S Luckman).

Provenance: Mrs J S Luckman - Not known.

199. GIDGEE TREE, CENTRAL AUSTRALIA 1958

Exhibitions: 22nd April–3rd May 1959 AST 75th Annual Exhibition Hobart,No 11 (as Gidgee Tree, Central Australia), 20 gns.


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200. FINKE RIVER BED, CENTRAL AUSTRALIA 1958

Exhibitions: 22nd April–3rd May 1959 AST 75th Annual Exhibition Hobart,No 14 (as Finke River Bed, Central Australia), 15 gns.Provenance: Not known.

201. FINKE RIVER GUM 1958

Exhibitions: 25th March–26th April 1959 3rd Tasmanian Art Gallery Exhibi-tion TMAG Hobart, No 5 (as Finke River Gum), 20 gns.Provenance: Not known.

202. Mt UNDOOLYA, CENTRAL AUSTRALIA 1958

Exhibitions: 22nd April–3rd May 1959 AST 75th Annual Exhibition Hobart,No 15 (as Mt Undoolya, Central Australia), 15 gns.Provenance: Not known.

203. SIMPSON’S GAP 195827.9× 38.1 cm (sight)signed lower right ‘Harry Buckie’in the artist’s frame and hand-painted mount

Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob-ably during the winter. This view towards Simpson’s Gap across flat white sandwas painted on that trip. The Gap is 18 kilometers west of Alice Springs.Verso, on the cardboard pasted to the paper support, top in ball-point, ‘Simp-son’s Gap, Macdonnell Range N.T.’ This is printed over [in pencil, handwrittenin the artist’s hand] ‘for Simpson’s Gap’.On the frame [in pencil] ‘Simpson’s Gap (near)’ and ‘No 11’.The brown cardboard mount is hand-painted in light grey separated from awhite inner band by a thin ruled pencil line. This French-lining style, popu-larised in Tasmania by Launceston artist-framer Geoff Tyson, is characteristicof Buckie’s framing at this time.Exhibitions: 1959 [15] Exhibition of Watercolours, Central Australia Fitzger-ald’s Auditorium Collins St Hobart, No 11. (as Simpson’s Gap).Provenance: Not known - 2007 Gowans’ Auctions, from an estate - 2007 Pri-vate collection.

204. RED BANK AND DESERT OAK, PALMER RIVER 195827× 37 cm (sight)signed lower right ‘Harry Buckie’in the artist’s frame and hand-painted mount

Harry Buckie and Ralph Hope-Johnston visited Central Australia in 1958, prob-ably during the winter. This work was painted on that trip, and is in its originalmount, hand-painted by the artist. The Stuart Highway crosses the PalmerRiver about 150 kilometers south of Alice Springs.

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Verso upper left top, on the the original pasted paper backing, ’No 1 / RedBank and Desert Oak, Palmer River’.The brown cardboard mount is hand-painted in light grey separated from awhite inner band by a thin ruled pencil line. This French-lining style, popu-larised in Tasmania by Launceston artist-framer Geoff Tyson, is characteristicof Buckie’s framing at this time.Exhibitions: 22nd April–3rd May 1959 75th Annual AST Exhibition Hobart,No 12 (as Red Bank and Desert Oak, Palmer River), 14 gns.1959 [15] (or, less likely, in 1960 [?]) Central Australia Fitzgerald’s AuditoriumHobart, No 1.Provenance: Not known - 2007 Gowans’ Auctions, from an estate - 2007 Pri-vate collection.

205. MULGA SCRUB, NORTHERN TERRITORY 1958

Exhibitions: 30th August–11th September 1960 TGP 21st Annual ExhibitionHobart, No 12 (as Mulga Scrub, Northern Territory), 18 gns.Provenance: Not known.

206. THE LITTLE GHOST GUM, CENTRAL AUSTRALIA 1958

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho-bart, No 11 (as The Little Ghost Gum, Central Australia), NFS.Provenance: Not known.

207. SILVER LIGHT 195825× 32.6 cm (sight)signed and dated lower left ‘Harry Buckie 1958’in the artist’s frame and hand-painted mount

The scene looks north along Lisdillon Beach past Boag’s Point to the Hazards.Verso, on the backing, top right in ink, ‘SILVER LIGHT / £10.10.0 / [not inthe artist’s hand] H. Buckie / 40A Montagu St. / Lenah Valley’ and in thecentre [in a different, also not the artist’s, hand] in biro, ‘To Clair and Alf / Agift of nostalgia of our own East Coast / From Nora and from Marge’.The Buckies sometimes stayed with some friends “called Nora and Marge” attheir cottage a little south of Swansea [10]. It is possible that they are thecouple referred to in this inscription.The brown cardboard mount is hand-painted in light grey separated from awhite inner band by a thin ruled pencil line. This French-lining style, popu-larised in Tasmania by Launceston artist-framer Geoff Tyson, is characteristicof Buckie’s framing at this time.Exhibitions: 4th–15th May 1960 AST 76th Annual Exhibition Hobart, No 9(as Silver Light), 15 gns.3rd–14rd May 1961 AST 77th Annual Exhibition Hobart, No12 (as Silver Light),14 gns.30th August–10th September 1961 TGP 22nd Annual Exhibition, No 9 (asSilver Light), 16 gns.

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Provenance: Not known - 2004 Gowans’ Auctions, from an estate - 2004 Pri-vate collection.

208. [ROCK POOL] circa late 1950s18.3× 25.9 cm (sight)unsigned and undatedin the artist’s hand-painted mount

A view of part of a stream. The timbered hillside continues to the righthandtop of the painting. Unusually for Buckie, there is no horizon. The work is inits original mount, hand-painted by the artist.The work came from the same estate as Silver Light.The brown cardboard mount is hand-painted in light grey separated from awhite inner band by a thin ruled pencil line. This French-lining style, popu-larised in Tasmania by Launceston artist-framer Geoff Tyson, is characteristicof Buckie’s framing in the late 1950s. The view of Simpson’s Gap painted onhis 1958 visit to Central Australia with Ralph Hope-Johnstone uses a versionof this mounting style, giving an approximate date for the painting.Provenance: Not known - 2004 Gowan’s Auctions, from an estate - 2004 Pri-vate collection, Hobart.

209. LANDSCAPE AFTER RAIN before 1959see also catalogue number 247 on page 95

Exhibitions: 1959 Paintings by Tasmanian Artists Adult Education Board,No 9 (as Landscape after Rain), 12 gns.1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 12 (as AfterRain), $55.Provenance: Not known.

210. BOATS AT WYNYARD c1959

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho-bart, No 12 (as Boats at Wynyard), 14 gns.Provenance: Not known.

211. LOW TIDE AT STANLEY c1959

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho-bart, No 13 (as Low Tide at Stanley), 14 gns.Provenance: Not known.

212. AT BICHENO c1959

Exhibitions: 5th–16th August 1959 TGP 20th Annual Exhibition TMAG Ho-bart, No 14 (as At Bicheno), 14 gns.Provenance: Not known.

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213. PITTWATER 1959–60

Exhibitions: 4th–15rd May 1960 AST 76th Annual Exhibition Hobart, No 10(as Pittwater), 15 gns.

3rd–14rd May 1961 AST 77th Annual Exhibition Hobart, No 11 (as Pittwater),16 gns.

Possibly April & May 1980 Water Colours by Tasmanian Artists Art CentreGalleries (Cottage Tea Rooms, Richmond 23rd April & 85 Elizabeth StreetHobart 7th May), No 23 (as Pittwater Cambridge Tasmania), $60.


214. STORM APPROACHING PITTWATER 1959–60

Exhibitions: 1959 Paintings by Tasmanian Artists Adult Education Board,No 7 (as Storm Approaching Pittwater), 12 gns.

4th–15rd May 1960 76th Annual Exhibition Hobart, No 11 (as Storm approach-ing Pittwater), 14 gns.


215. EROSION AND TREES 1959–60

Exhibitions: 4th–15rd May 1960 AST 76th Annual Exhibition Hobart, No112 (as Erosion and Trees), 12 gns.


216. PASSING CLOUD c1960

Exhibitions: 30th August–11th September 1960 TGP 21st Annual ExhibitionHobart, No 9 (as Passing Cloud), 15 gns.


217. A VIEW OF OATLANDS FROM MOUNT BURBURY c1960

reproduced in monochromeas front and back cover of‘A History of Oatlands and Jericho’ by Karl von Stieglitz, OBE


218. GREY SKIES c1960

Exhibitions: 30th August–11th September 1960 TGP 21st Annual ExhibitionHobart, No 10 (as Grey Skies), 12 gns.


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219. LONELY DINGHY c1960

Exhibitions: 30th August–11th September 1960 TGP 21st Annual ExhibitionHobart, No 11 (as Lonely Dinghy), 14 gns.


220. LANDSCAPE possibly 1960

Exhibitions: 23rd March–24th April 1960 4th Tasmanian Art Gallery Exhibi-tion TMAG Hobart, No 4 (as Landscape), 18 gns.

1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart, No 7 (asLandscape), 10 gns.


221. GUNNER’S QUOIN c1959–60

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart,No 8 (as Gunner’s Quoin), 10 gns.


222. TWO TREES, NORTHERN TERRITORY 1958

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart,No 9 (as Two Trees, Northern Territory), 14 gns.


223. AT ROKEBY c1959–60

Exhibitions: 1960 Exhibition of Watercolours Fitzgerald’s Auditorium Hobart,No 12 (as At Rokeby), 12 gns.


224. THE YELLOW DOOR 1960–61

Exhibitions: 3rd–14rd May 1961 AST 77th Annual Exhibition Hobart, No 10(as The Yellow Door), 15 gns.


225. A VIEW OF NEW NORFOLK FROM PEPPERMINT HILL c1961

reproduced in monochromeas front and back cover of‘A History of New Norfolk and the Derwent Valley’ by Karl von Stieglitz, OBE


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226. LANDSCAPE c1961

Exhibitions: 30th August–10th September 1961 TGP 22nd Annual ExhibitionHobart, No 6 (as Landscape), 16 gns.


227. CREEK c1961

Exhibitions: 30th August–10th September 1961 TGP 22nd Annual ExhibitionHobart, No 7 (as Creek), 16 gns.


228. RIVER REFLECTIONS c1961

Exhibitions: 30th August–10th September 1961 TGP 22nd Annual ExhibitionHobart, No 8 (as River Reflections), 16 gns.


229. PROMISE OF RAIN 1961–62

Exhibitions: 2nd–12th May 1962 AST 78th Annual Exhibition Hobart, No 8(as Promise of Rain), 25 gns.


230. EARLY MORNING TAMAR RIVER 1961–62

Exhibitions: 2nd–12th May 1962 AST 78th Annual Exhibition Hobart, No 9(as Early Morning Tamar River), 20 gns.


231. CREEK IN FLOOD, CAMPANIA c1962


Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 12 (as Creek in Flood), 18gns..

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 34(as Creek in Flood, Campania, dated as c1962, inscribed with title on backingboard, collection QVMAG).

Provenance: QVMAG acquired 1963.

26th–30th November 1962 Tasmanian Watercolours Today Adult EducationBoard Southern Series Launceston, No 13 (as Near Low Head), 18 gns.

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232. COAST NEAR DUNALLEY No 1 c1963

27× 37.6 cmsigned lower right ‘Harry Buckie’ )

Exhibitions: 1963 Cat and Fiddle Art Exhibition Adult Education Board Ho-bart, No 155 (as Coast near Dunalley No 1), 30 gns.Possibly 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart,No 35 (as Near Dunalley, dated as c1963, collection Miss Joan Buckie).Provenance: Possibly Miss J Buckie.

233. COAST NEAR DUNALLEY No 2 c1963

27× 37.6 cmsigned lower right ‘Harry Buckie)

Exhibitions: 1963 Cat and Fiddle Art Exhibition Adult Education Board Ho-bart, No 154 (as Coast near Dunalley No 2), 25 gns.Possibly 8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart,No 35 (as Near Dunalley, dated as c1963, collection Miss Joan Buckie).Provenance: Possibly Miss J Buckie.

234. WHITE SANDS AT SEAFORD 1962–63

Exhibitions: 1st–12th May 1963 AST 79th Annual Exhibition Hobart, No 7(as White Sands at Seaford), 30 gns.Provenance: Not known.

235. THE SAND DUNE 1962–63

Exhibitions: 1st–12th May 1963 AST 79th Annual Exhibition Hobart, No 8(as The Sand Dune), 30 gns.Provenance: Not known.

236. AUTUMN AT NEW NORFOLK 1962–63

Exhibitions: 1st–12th May 1963 AST 79th Annual Exhibition Hobart, No 9(as Autumn at New Norfolk), 30 gns.Provenance: Not known.

237. A VIEW OF HAMILTON FROM PROSPECT HILL c1963reproduced in monochromeas front and back cover of‘A History of Hamilton, Ouse and Gretna’ by Karl von Stieglitz, OBE


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238. GUMS ON THE DOMAIN 1963–64

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart,No 13 (as Gums on the Domain), 20 gns.


239. CALM EVENING 1963–64

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart,No 14 (as Calm Evening), 22 gns.


240. WINTER CALM

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 9 (as Winter Calm), NFS.


241. LANDSCAPE NEAR DELORAINE 1962see also catalogue number 257 on page 96

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 16 (as Landscape near Delo-raine), 30 gns.


242. WILLOW 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 10 (as Willow), 35 gns.


243. NEAR LOW HEAD 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 13 (as Near Low Head), 18gns.


244. RING BARKED TREE 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 14 (as Ring Barked Tree), 30gns.


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245. SHE OAK BY THE SHORE 1962

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 10 (as She Oak by the Shore),16 gns.Provenance: Not known.

246. DRY COUNTRY 1963–64

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart,No 15 (as Dry Country), 24 gns.Provenance: Not known.

247. AFTER THE RAIN 1963–64see also catalogue number 209 on page 89

Exhibitions: 29th April–10th May 1964 AST 80th Annual Exhibition Hobart,No 16 (as After the Rain), 21 gns.Provenance: Not known.

248. MIST OVER THE SEA 1963–64

Exhibitions: 1964 Summer Art Exhibition Adult Education Board Cat andFiddle Arcade Hobart & Trustees’ Court and Arcade Launceston, No 23 (asMist over the Sea), 22 gns.Provenance: Not known.

249. LAKE NICHOLLS, NATIONAL PARK 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart,No 6 (as Lake Nicholls, National Park), 23 gns.November 1965 Exhibition of Paintings. Harry Buckie and Elspeth VaughanLloyd Jones Art Gallery Hobart, No 1 (as Lake Nicholls, National Park), 23gns.Provenance: Not known.

250. HEADLAND, CARLTON c1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 2 (as Headland, Carlton),20 gns.Provenance: Not known.

251. DERELICT 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart,No 7 (as Derelict), 23 gns.

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252. THE ARVE RIVER 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart,No 8 (as The Arve River), 23 gns.Provenance: Not known.

253. SEASCAPE, BRUNI 1964–65

Exhibitions: 28th April–9th May 1965 AST 81st Annual Exhibition Hobart,No 9 (as Seascape, Bruni), 23 gns.1967 Five Hobart Painters Don Camillo Restaurant Hobart, No 8 (as Seascape),$5.Provenance: Not known.

254. GRAY MORNING c1965–66

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton ArtGallery Hamilton Victoria, No 8 (as Rough Sea, East Coast), $50.Provenance: Not known.

255. ROUGH SEA, EAST COAST c1965–66

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton ArtGallery Hamilton Victoria, No 7 (as Gray Morning), $55.Provenance: Not known.

256. GREY DAY AT DELORAINE c196535× 43.7 cmsigned lower right

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 10 (as Grey Day near De-loraine), 18 gns.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 36(as Grey Day at Deloraine, dated as c1965, (illust.), private collection).Provenance: Private collection.

257. COUNTRY NEAR DELORAINE 196534.5× 43.5 cmsigned lower right

Exhibitions: 26th–30th November 1962 Tasmanian Watercolours Today AdultEducation Board Southern Series Launceston, No 16 (as Landscape near Delo-raine), 30 gns.

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Possibly November 1965 Exhibition of Paintings. Harry Buckie and ElspethVaughan Lloyd Jones Art Gallery Hobart, No 3 (as Deloraine Countryside), 18gns

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 37 (asCountry near Deloraine, dated as 1965, inscribed with title on backing board,collection Mrs L C Viney).

Provenance: Mrs L C Viney - Not known.

258. POPLAR IN WINTER 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 4 (as Poplar in Winter), 23gns


259. AFTERNOON, RALPH’S bay 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 5 (as Afternoon, Ralph’sBay), 20 gns


260. GATE AT HUTTON PARK 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 6 (as Afternoon, Ralph’sBay), 20 gns


261. TREE AND BUSH 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 7 (as Tree and Bush), 23gns


262. THE ASH TREE, BUSHY PARK 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 8 (as The Ash Tree, BushyPark), 20 gns


263. POPLAR, DELORAINE COUNTRYSIDE 1965

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Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 9 (as Poplar, DeloraineCountryside), 20 gns


264. CARLTON BEACH 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 13 (as Carlton Beach), 20gns


265. MORNING LIGHT 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 11 (as Morning Light), 18gns


266. LONELY TREE 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 12 (as Lonely Tree), 18gns


267. GREY DAY AT RALPH’S BAY 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 15 (as Grey Day at Ralph’sBay), 20 gns


268. WILLOW TREE IN WINTER 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 16 (as Willow Tree in Win-ter), 18 gns


269. LAGOON, EAST COAST before 1966

Exhibitions: 7th–19th June 1966 Max Angus, et al City of Hamilton ArtGallery Hamilton Victoria, No 11 (as Lagoon, East Coast), $50.


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270. HARMONY IN GREY 1966–67

34× 46.5 cm (sight)signed lower right ‘Harry Buckie’

Two tall dead gums dominate the foreground, with the sea behind. The washesfor the sea and the waves are done with care and to good effect. Verso, onthe backing, [printed in Buckie’s hand] ‘No 3 “HARMONY IN GREY” / HarryBuckie / 2|409 Sandy Bay Rd., / Sandy Bay. 7005.’, also ‘$[blacked out] RE-SERVE $[blacked out]’. Decimal currency was introduced in February 1966,and Buckie moved to this address also in 1966 [?]. Some stiffness in the brush-work suggests that this was painted after Parkinson’s disease began affectingBuckie’s work in the late 1970s [10].

The opening in the original mount was unnecessarily small and was enlarged15mm on all four sides and the painting repositioned in 2004. Buckie had signedthe painting twice, one signature being hidden by the original mounting.

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No9 (as Harmony in Grey), $55.

Possibly May–June 1976 AST 92nd annual exhibition Hobart, No 10 (as TheTwo Gums), $75.

Provenance: Not known - Bathurst Antiques - 2004 Private collection, Ho-bart.

271. TWO GUMSsee catalogue number 270 on page 99

Exhibitions: May–June 1976 AST 92nd annual exhibition Hobart, No 10 (asThe Two Gums), $75.

272. NEAR PORT SORELL before 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No13 (as Near Port Sorell), $55.


273. UNIVERSITY, SANDY BAY after 1965unsigned

A view of the Sandy Bay Campus from above, looking to the bridge. Possiblythe bridge has been shown after repair from its 1972 collapse (the evidence ofthe painting is indecisive). The painting is only known from a photograph inthe possession of a member of the artist’s family t[10].


274. DERWENT SCENE 1965

Exhibitions: November 1965 Exhibition of Paintings. Harry Buckie and El-speth Vaughan Lloyd Jones Art Gallery Hobart, No 17 (as Derwent scene), 18gns

99


275. OLD TREE, OLD HOUSE 1965–66

Exhibitions: 3rd–15th May 1966 AST 82nd Annual Exhibition Hobart, No 5(as Old Tree, Old House), $45.


276. SANDY BAY before 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No14 (as Sandy Bay), $55.

December 1972 The Tasmanian Landscape, No 7 (as Sandy Bay), $60.


277. possibly LOW TIDE AT CAMBRIDGE c1966

34× 39.5 cm (sight) signed lower right ‘Harry Buckie’

The view is across a bay, under grey clouds. The calm water reflects clouds andthe hills on the horizon. This is a good example of the artist’s later work.

Verso, on the backing upper right ‘45 dollars [in black, crossed out] / [in bluebiro] 40’. Decimal currency was introduced in February 1966. Forty-five dollarswas the price Buckie asked for other paintings in 1966. At this time he oftenpainted in company with Max Angus and the Sunday Group in the coastalareas near Hobart. The influence of Angus is obvious in this particularly goodexample of Buckie’s later work [10].

Exhibitions: Possibly 3rd–15th May 1966 AST 82nd Annual Exhibition Ho-bart, No 6 (as Low Tide at Cambridge), $45.

Provenance: Not known - Bathurst Antiques - 2004 Private collection, Ho-bart.

278. EAST COAST, NEAR BINNALONG BAY 1965–66

35× 48 cm (sight)signed lower right ‘Harry Buckie’ in original mount and framing

An atmospheric view of the waters off Tasmania’s East Coast on a day withwhite clouds and a light sea mist. Buckie’s treatment of the seascape illustratesthe beginning of his transition from his earlier Cotman-like technique to theAngus-inspired communal style of the ‘Sunday Painters’ group.

Verso [in the artist’s hand] ‘EAST COAST, NEAR BINNALONG BAY’ /$50.00 / Harry Buckie, / 409 Sandy Bay Rd, / Sandy Bay 7005’.

Decimal currency was introduced in February 1966, and Buckie’s paintings wereall priced at $55 in the 1967 Don Camillo exhibition. Thus if the notes versorefer to a Don Camillo hanging it could only have been in 1966, suggesting thatthe work was painted in the summer of 1965–66.

Other than annual Art Society of Tasmania showings, these exhibitions at theDon Camillo of works painted by the five members (Max Angas, Roy Cox,

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Patricia Giles, Elspeth Vaughan, and Buckie) of the ‘Sunday Painters’ on theirregular Sunday excursions were Buckie’s main outlet. There is no record ofthis work at the Art Society exhibitions, and it is of an area popular with thegroup, leading to the liklihood that it was indeed shown at the Don Camillorestaurant.Exhibitions: Possibly 1966 Five Hobart Painters Don Camillo RestaurantHobart, (as East Coast, Near Binnalong Bay), $50.Provenance: Not known - 29 August 2009 Gowans’ Antique Auction, Hobart,lot 168 - 2008 Private collection, Hobart.

279. NEAR CONNINGHAM 1966–67

Exhibitions: 2nd–14th May 1967 AST 83rd Annual Exhibition Hobart, No 5(as Near Conningham), $60.Provenance: Not known.

280. RALPHS BAY 1966–67

Exhibitions: 2nd–14th May 1967 AST 83rd AST Annual Exhibition Hobart,No 6 (as Ralphs Bay), $55.1971 87th Annual Exhibition Hobart, No 14 (as Ralphs Bay), $58.Provenance: Not known.

281. SOUTH BRUNY HEADLANDS before 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No10 (as South Bruny Headlands), $55.Provenance: Not known.

282. LANDSCAPE AFTER FIRE 1967

Exhibitions: 1967 Five Hobart Painters Don Camillo Restaurant Hobart, No11 (as Landscape after Fire), $55.Provenance: Not known.

283. COUNTRYSIDE, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 21 (as Countryside, Nepal), $55.Provenance: Not known.

284. LAKE PHEWA, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 22 (as Lake Phewa, Nepal), $60.Provenance: Not known.

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285. SKETCH FOR ‘Mt MACHHAPUCHLARE’, NEPAL 1968

Exhibitions: 26th October–15th November1968 Saddler’s Court Gallery Rich-mond, No 20 (as Mt Machhapuchlare, - Nepal), NFS.15th–27th April 1969 AST 85th Annual Exhibition Hobart, No 5 (as Sketch for’Mt Machhapuchlare’, Nepal), NFS.Provenance: Not known.

286. Mt MACHHAPUCHLARE AT POKHARA, NEPAL 196837× 48.5 cmsigned lower right

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 23 (as Mt Machhapuchlare, at Pokhara), $63.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 38(as Mt Machhapuchlare at Pokhara, Nepal, dated as 1968, inscribed with titleon backing board, collection Mrs J Spark).Provenance: Mrs J Spark - Not known.

287. MOUNTAINS AND TERRACES, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 25 (as Mountains and terraces, Nepal), $55.Provenance: Not known.

288. DWELLINGS IN KATHMANDU, NEPAL 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 24 (as Dwellings in Kathmandu, Nepal, $63.Provenance: Not known.

289. NEPALI OR KATHMANDU HOUSE 196836× 46 cmsigned lower right

Exhibitions: Possibly 26th October–15 November 1968 Saddler’s Court GalleryRichmond, No 35 (as Typical Farm House. Nepal $63.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 39(as Nepali or Kathmandu house, dated as 1968, collection Noel R Kemp).Provenance: Noel R Kemp - Not known.

290. THE MEKONG RIVER, CAMBODIA 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 34 (as The Mekong River, Cambodia), $55.Provenance: Not known.

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291. ENTRANCE TO ANGKOR WAT 1968signed lower left ‘Harry Buckie 1968’inscribed lower right ‘ENTRANCE TO ANGKOR WAT CAMBODIA’

Provenance: Family of the artist.

292. ANGKOR WAT 1968signed lower right ‘HARRY BUCKIE 1968’ /‘ANGKOR WAT CAMBODIA’


293. GATEWAY TO ANGKOR WAT 1968

Exhibitions: 26th October–18th November 1979 AST Spring Exhibition Ho-bart, No 3 (as Gateway to Angkor Wat), NFS.


294. TEMPLE RUINS, THAILAND 1968

48× 36 cmsigned lower right

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 32 (as Temple Ruins, Thailand), $63.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 40 (asTemple Ruins, Thailand, dated as 1968, inscribed with title on backing board,collection Mrs E B Gray).

Provenance: Mrs EB Gray.

295. FLAME TREE AND RUINS, THAILAND 1968

signed ‘Harry Buckie’ and inscribed ‘THAILAND ’68’ lower right

Ruins of Wat Phra Ram at Ayutthaya.

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 33 (as Flame Tree and Ruins, Thailand), $60.

Provenance: In artist’s family.

296. THE LITTLE CHINESE TEMPLE, THAILAND 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 29 (as The Little Chinese Temple, Thailand), $55.


297. COUNTRY ROAD, THAILAND 1968

103

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 30 (as Country Road, Thailand), $60.


298. BANANA AND LOTUS LILLYS [sic] / BANGKOK 1968

signed lower right ‘Harry Buckie 1968’ /‘BANANA AND LOTUS LILLYS [sic] / BANGKOK 1968’


299. BANGKOK SCENE 1968

signed lower left ‘Harry Buckie’


300. HOUSES ON THE RIVER KWAI, THAILAND 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 31 (as Houses on the River Kwai, Thailand), $10055.


301. OFF SHORE AT MALACCA 1968

Exhibitions: 28th May–10th June 1968 AST 84th Annual Exhibition Hobart,No 12 (as Off Shore at Malacca), $45.


302. THE PENANG RIVER, MALAYSIA 1968

Exhibitions: 26th October–15th November1968 Saddler’s Court Gallery Rich-mond, No 19 (as The Penang River, Malaysia), NFS.

19th –27th february 1980 AST 96th Annual Exhibition Hobart, No 10 (as ThePenang River, Malaysia), NFS.


303. IN A MALAY KAMPONG 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 26 (as In a Malay Kampong), $63.


304. HOUSE AMONG THE TREES, MALAYSIA 1968

unsigned

104

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 28 (as House among the Trees, Malaysia), $60.

Provenance: In possession of family.

305. SUNGEI KELATON RIVER, KOTA BHARU 1968

ball-point penand watercolour23× 30.4 cmsigned and inscribed with title and date lower right

Exhibitions: 23rd–30th September 1984 Art Acquisitions 1979–84 TMAG,Hobart, No 101 (as Sungei Kelaton River, Kota Bharu).

Provenance: 1984 TMAG, presented by Joan Buckie.

306. LOW TIDE AT PENANG, MALAYSIA 1968

Exhibitions: 26th October–15th November 1968 Saddler’s Court Gallery Rich-mond, No 27 (as Low Tide at Penang, Malaysia), $63.


307. NEAR LUNAWANNA, BRUNI before April 1969

Exhibitions: 15th–27th April 1969 AST 85th Annual Exhibition Hobart, No6 (as Near Lunawanna, Bruni), $60.


308. TARANA before October 1969

Exhibitions: 3rd October 1969 Art Auction ABC Social Club SalamancaGallery Hobart, No 72 (as Tarana).


309. ROAD NEAR VALLEYFIELD 1969–70

Exhibitions: 28th April–17th May 1970 86th AST Annual Exhibition Hobart,No 10 (as Road near Valleyfield), $65.


310. EAST COAST ON A GREY DAY 1969–70

Exhibitions: 1970 AST 86th Annual Exhibition Hobart, No 11 (as East Coaston a Grey Day), $60.


105

311. CAPE BERNIER, EAST COAST c1970

36× 47.5 cmsigned lower left, inscribed with title lower right

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo RestaurantSandy Bay, No 8 (as Cape Bernier), $60.

8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 41 (asCape Bernier, East Coast, dated as c1970, (illust.), collection Mrs D Monk).

Provenance: Mrs D Monk - Not known.

312. EAGLEHAWK NECK c1970–71

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo RestaurantSandy Bay, No 10 (as Eaglehawk Neck), $60.


313. TREES IN SANDOWN PARK c1970–71

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo RestaurantSandy Bay, No 11 (as Trees in Sandown Park), $60.


314. A HOUSE AT BOTHWELL c1970–71

Exhibitions: 6th March 1971 Five Hobart Painters Don Camillo RestaurantSandy Bay, No 12 (as A House at Bothwell), $60.


315. TOWARDS MARIA ISLAND c1970–71

36.2× 47 cm (sight)signed lower right ’Harry Buckie’in original mount and framing

A view of Maria Island across Blackman Bay from the Tasmanian mainlandnear Dunally. This is a fine late work, with its sureness of line defying theshaking intermittently associated with the artist’s infirmity.

Verso on the paper support [top, printed, in artist’s hand] ’BLACKMAN BAY/ NEAR DUNALLY / TAS’.

Verso, attached to the cardboard backing: a request from the Director ofthe TMAG for loan-paintings for the upcoming September 1981 Harry BuckieWatercolours exhibition; a loan acknowledgement for Towards Maria Island;,athank-you letter, a TMAG identification slip, an invitation to the Opening of theExhibition, and an envelope addressed to Mrs. Crocker [sic] from the TMAGwith [in cursive, on the outside] ’Harry’s Exhibition’.

Clearly the work was originally called Blackman Bay, near Dunally but we havecontinued to use the equally applicable and better known Towards Maria Islandunder which it was shown at the TMAG.

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The annotation on the envelope referred to above indicates that Miss Crockerwas on intimate terms with the Buckies. The dating of 1977, from the informa-tion supplied to, and used by, the TMAG, by Miss Crocker would seem to bein error.

Buckie’s paintings were increasingly of accessable East Coast scenes during the1970s as intermittent bouts associated with Parkinson’s disease made paintingand travel difficult for the artist.

Exhibitions: March 1971 Five Hobart Painters Don Camillo Restaurant Ho-bart, No 9 (as Black Man Bay), $60.

17th–26th October 1974 Australian Watercolour Institute 51st annual exhibi-tion, Sydney, No 23 (as Looking towards Maria Island, Tasmania), $70.

8–27 September 1981 Harry Buckie Watercolours, TMAG Hobart, No 45 (asTowards Maria Island, dated as c1977, collection Margaret Crocker).

Provenance: Miss Margaret Amy Crocker, Dynnyrne - 2008 Private collec-tion, Hobart.

316. BLACK MAN BAYsee catalogue number 315 on page 106

Exhibitions: March 1971 Five Hobart Painters Don Camillo Restaurant Ho-bart, No 9 (as Black Man Bay), $60.

Plate Towards Maria Island (c1970–71)

317. ROCK FORMATION WESTERN SHORE 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 33 (as Rock Formation Western Shore, NFS.


318. VIEW TO BUCKIE’S BONNET 1971

signed lower right


319. THE BONNET I 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 34 (as The Bonnett I, $62.


320. THE BONNET II (Harry Buckie’s Bonnet, Lake Pedder) 1971


Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 35 (as The Bonnett II, $62.

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8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 42 (asThe Bonnet II, dated as 1971, inscribed with title on backing board, collectionMrs J Spark).Provenance: Mrs J Spark - Not known.

321. CLOUD OVER THE FRANKLANDS 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 37 (as Cloud over the Franklands, $60.Provenance: Not known.

322. CLOUD LIFTING OFF THE FRANKLANDS 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 38 (as Cloud lifting off the Franklands, $62.Provenance: Not known.

323. EASTERN END FRANKLAND RANGE 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 39 (as Cloud over the Franklands, $60.Provenance: Not known.

324. THE BEACH AND CORONETS 1971

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 40 (as The Beach and Coronets, $62.Provenance: Not known.

325. THE FRANKLAND RANGE 197135.5× 48 cmsigned lower right

Exhibitions: 19th November 1971 Lake Pedder 1971 Saddler’s Court GalleryRichmond, No 36 (as The Frankland Range, $62.1977 Lake Pedder 1971 Exhibition TMAG Hobart.8th–27th September 1981 Harry Buckie Watercolours TMAG Hobart, No 43(as The Frankland Range, dated as 1971, collection Mrs M Buckie).Provenance: Mrs M Buckie - Not known.

326. THE CORONETS AND Mt. WEDGE before December 1972

Exhibitions: December 1972 The Tasmanian Landscape, No 5 (as The Coro-nets and Mt. Wedge), $50.Provenance: Not known.

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327. LAKE PEDDER c197337× 49 cmsigned lower right

Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 44 (as Lake Pedder, dated as c1973, inscribed with title on backingboard, collection S Menzies).Provenance: S Menzies - Not known.

328. EAST COAST 1971–72

Exhibitions: 1972 AST 88th Annual Exhibition Hobart, No 11 (as East Coast),$62.Provenance: Not known.

329. Mt STREZLECKI, FLINDERS ISLAND 1972–73

Exhibitions: 1973 AST 89th Annual Exhibition Hobart, No 13 (as Mt Stre-zlecki, Flinders Island), $68.Provenance: Not known.

330. STREZLECKI PARK, FLINDERS ISLAND 1972–73

Exhibitions: 14th–28th September 1973 50th Annual Exhibition AustralianWatercolour Institute 50th annual exhibition, Farmer’s Blaxland Galleries Syd-ney, No 24 (as Strezlecki Park, Flinders Island), $65.Provenance: Not known.

331. NEAR MARION BAY 1973–74

Exhibitions: 1974 AST 90th Annual Exhibition Hobart, No 9 (as Near MarionBay), $68.Provenance: Not known.

332. PROSSER BAY 1974–75

Exhibitions: 8th–23rd April 1975 AST 91st Annual Exhibition Hobart, No 9(as Prosser Bay), $70.Provenance: Not known.

333. RACING CLOUDS 1976–77

Exhibitions: 7th–19th June 1977 AST 93rd Annual Exhibition Hobart, No 8(as Racing Clouds), $70.Provenance: Not known.

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334. STUDY IN GREY 1976–77

Exhibitions: 7th–19th June 1977 AST 93rd Annual Exhibition Hobart, No 9(as Study in Grey), $60.


335. LOW TIDE AT HOWDEN 1977


Exhibitions: 8th–27th September 1981 Harry Buckie Watercolours TMAGHobart, No 46 (as Low Tide at Howden, dated as 1977, collection Mrs S Web-ster).

Provenance: Mrs S Webster - Not known.

336. GREY LANDSCAPE 1978–79

Exhibitions: 20th–28th February 1979 AST 95th Annual Exhibition Hobart,No 7 (as Grey Landscape), $75.


337. GUM TREES late 1970s

26.6× 37 cm (sight)signed lower right ’Harry Buckie’

A sad work from the very end of Harry Buckie’s career. It marks a late stageof his struggle with Parkinson’s disease. It does little justice to the gloriouswatercolours which had flowed from the artist’s brush since the 1920s. Thecomposition is clumsy, the washes have grown coarse, and cloisonnist outlininghas appeared. The signature may not even have been written by Harry, possiblyhis wife helped.

Provenance: Miss Margaret Amy Crocker - 20 August 2008, Andrew WrightAuction, Hobart, lot 160 - 2008 Private collection, Hobart.

338. BOATS AT ANCHOR after 1977

26.6× 37 cm (sight)signed lower right ’Harry Buckie’

An elegant small wash sketch, with no pencil outlining. The technique is unusualfor Buckie. A fine draughtsman, forced to yield as Parkinson’s disease took hold,Buckie was still able to paint a small atmospheric gem. Only a little cloisonnistoutlining in the immediate foreground hints at his struggle with the disease.

The paper of the support has an unusual texture. The signature is laboured,unlike the confident ’Harry Buckie’ of earlier times.

Provenance: Miss Margaret Amy Crocker - 2008 Private collection, Hobart.

Plate Boats at Anchor

110

339. FROM THE MOUNTAIN before 1970

Exhibitions: c1970 Australia Junior Chamber of Commerce Community ArtExhibition Hobart, No 4 (as From the Mountain), $60.Provenance: Not known.

340. RIVER MOUTH, EAST COAST

Exhibitions: 7th May 1980 Water Colours by Tasmanian Artists Art Cen-tre Galleries (Cottage Tea Rooms, Richmond 23rd April) 85 Elizabeth StreetHobart, No 21 (as River Mouth East Coast), $50.Provenance: Not known.

341. IN RICHMOND

Exhibitions: 7th May 1980 Water Colours by Tasmanian Artists Art Cen-tre Galleries (Cottage Tea Rooms, Richmond 23rd April) 85 Elizabeth StreetHobart, No 22 (as In Richmond), $55.Provenance: Not known.

342. RICHMOND LANDSCAPE

Exhibitions: Untitled exhibition, No 70 (as Richmond landscape), $55.Provenance: Not known.

343. LANDSCAPE, MARION BAY

Exhibitions: Untitled exhibition, No 71 (as Landscape, Marion Bay), $55.Provenance: Not known.

344. LANDSCAPEsigned lower right ‘Harry Buckie’

A small watercolour of tree and scrub with cloud over low background hills,possibly the last work painted by Buckie.Provenance: Family of the artist.

345. NEAR SWANSEA, EAST COAST OF TASMANIA29× 40 cmsigned lower right

Inscribed with title verso.Exhibitions: 23rd–30th September 1984 Art Acquisitions 1979–84 TMAG,Hobart, No 100 (as Near Swansea, East Coast of Tasmania).Provenance: 1984 TMAG, presented by Joan Buckie.

111

346. PARLIAMENT BUILDINGS, HOBART

31.5× 41.8 cmsigned lower left

Exhibitions: August–October 1988 Art Acquisitions 1984–88 TMAG, Hobart,No 62 (as Parliament Buildings, Hobart).Provenance: 6th July 1985 TMAG, purchased auction Freeman Duff, lot 211.

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Bibliography

[1] Row, Don & Row, Maggie. (2009) Edith Holmes 1893–1973; a CatalogueRaisonne. Matroid Publications, Hobart.

[2] Row, Don & Row, Maggie. (2010) Fifty Years of Painting in Tasmania 1925-1975. Matroid Publications, Hobart.

[3] Backhouse, Sue. (1988) Tasmanian Artists of the Twentieth Century 1900-1985.Pandani Press, Hobart.

[4] McCulloch, Alan and McCulloch, Susan. (1994) The Encyclopedia of AustralianArt. Allen and Unwin, St. Leonards NSW.

[5] Kerr, Joan. (1992) Dictionary of Australian Artists: Painters, Sketchers, Pho-tographers and Engravers to 1870. OUP, Melbourne, Victoria.

[6] Catalogues. (various years) The Art Society of Tasmania, Annual Exhibitions.Tasmaniana Collection, State Library, Hobart.

[7] Catalogues. (various years) The Launceston Art Society, Annual Exhibitions.Tasmaniana Collection, State Library, Hobart.

[8] Catalogues. (various years) The Tasmanian Group of Painters, Annual Exhibi-tions, various years. Tasmaniana Collection, State Library, Hobart.

[9] Catalogues. (various years) TMAG Exhibitions, various years. Tasmaniana Col-lection, State Library, Hobart.

[10] Buckie, Joan. (23rd August 2005) Private conversation. Hobart.

[11] Scott, Patricia. (23rd August 2005 & 11 November 2008) Private conversations.Hobart.

[12] Row, Maggie. (13 Dec 2005). Notes of a conversation with Patricia Giles.

[13] Kolenberg, Hendrik. (1981) Catalogue, Harry Buckie Watercolours, TasmanianMuseum and Art Gallery, 8-27 September 1981. Tasmanian Museum and ArtGallery, Hobart.

[14] Hope-Johnstone, Ralph. (1981) Speech, opening the Harrie Buckie Water-colours Exhibition, Tasmanian Museum and Art Gallery, 8-27 September 1981.Speaker’s notes.

[15] Angus, Max. (1981) Introduction, Catalogue to the Harry Buckie WatercoloursExhibition, Tasmanian Museum and Art Gallery, 8-27 September 1981. Tasma-nian Museum and Art Gallery, Hobart.

[16] Chapman, Barbara. (1982) Catalogue, Geoff Tyson; watercolours 1936 - 1980,Queen Victoria Museum and Art Gallery, 30 January - 13 March 1982. QueenVictoria Museum and Art Gallery, Launceston.

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[17] Catalogue. (19 November 1971) Lake Pedder 1971, Saddler’s Court Gallery,Richmond. The Tasmaniana collection, State Library, Hobart.

[18] Catalogue. (April 1973) Patricia Giles, Saddler’s Court Gallery, Richmond. TheTasmaniana collection, State Library, Hobart.

[19] Catalogue. (21 November to 5 December 1984) Patricia Giles, Exhibitionof Paintings, Salamanca Place gallery, Hobart. The Tasmaniana Collection,Archives of Tasmania. State Library, Hobart.

[20] Catalogue. (December 1990) Patricia Giles’ Landscapes, flowers and portraitsin watercolour and oils, Thursday 13 to Monday 24 December 1990, Dick BettGallery, Hobart. The Tasmaniana Collection, State Library, Hobart.

[21] Catalogue. (May 1980) Art Centre Gallery. Tasmaniana Collection, State Li-brary, Hobart.

[22] Bryce, David J. (1997) Pubs in Hobart from 1807. The University of Tasmania,Hobart.

[23] Allport, Henry. (undated) Handwritten notes. Allport Museum, Hobart.

[24] Stone, Carolyn R and Tyson, Pamela. (1978). Old Hobart Town and Environs1802-1855. Pioneer Design Studio, Lilydale, Victoria.

[25] Pickett, Kaye. (1986) Catalogue: Important Fine Art Auction, Friday May 30,1986. Tulloch’s Auctions, Launceston TAS.

[26] Catalogue. (1995) Special Antique Auction, Saturday August 26, 1995. ArmitageAuctions, Launceston Tasmania.

[27] (2005) The Salamanca Collection: and private notes. Hobart, Tasmania.

[28] (2002) The Mercury newspaper, page 8, 21 December. Hobart.

[29] (1979) The Mercury newspaper, page 5, The first 40 years of Max Angus. 26September. Hobart.

[30] Catalogue. (2005 )Masterpiece Fine Art Gallery Hobart.

[31] Scene at Bright. Tasmanian Museum and Art Gallery, Hobart.

[32] Private collection. Hobart, Tasmania.

[33] Tasmanian Museum and Art Gallery collection. Hobart, Tasmania.

[34] ed. Smith, Bernard. (1979) Documents on Art and Taste in Australia. OxfordUniversity Press, London.

[35] de Teliga, Stan. (1956) A Catalogue of Australian Paintings and Drawings inthe Tasmanian Art Gallery. Tasmanian Museum and Art Gallery, Hobart TAS.

[36] (1985) The Art Bulletin of Tasmania. Tasmanian Museum and Art Gallery,Hobart.

[37] Chapman, Barbara. (1984) Catalogue of Oil Paintings. Queen Victoria Museumand Art Gallery, Launceston.

[38] Electoral Rolls, various.

[39] Catalogue. (December 1971 - January 1972) Patricia Giles, Don CamilloRestaurant, Hobart.

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Index

aboriginal carvings, Tasmania B, 76Acropolis B, 75across the Derwent B, 83across the river B, 84after the rain B, 95afternoon light B, 73afternoon Ralph’s Bay B, 97All Saints B, 56Alma Doepel B, 55Angkor Wat B, 103Angkor Wat B, 103Arve River B, 96ash tree Bushy Park B, 97at Bicheno B, 89at Rokeby B, 91Austin’s Ferry B, 62autumn at New Norfolk B, 93Ayers Rock B, 86

backyard, Okehampton B, 59banana B, 104Bangkok B, 104barge B, 66, 72barge Enterprise B, 77barges B, 52barn B, 60, 65, 70, 85barn at Coswell B, 81beach and Coronets B, 108Bicheno B, 59, 60, 75, 89Binnalong Bay B, 100Black Man Bay B, 107black rock Swansea B, 83Blackman Bay B, 106bluff B, 63Boat Harbour B, 85boats at anchor B, 110boats at Port Adelaide B, 70boats at Sandy Bay B, 64boats at Wynyard B, 89bonnet I B, 107bonnet II B, 107book cover, 81book cover B, 90, 91, 93Bothwell B, 106

bridge at Kingston-on-Thames B, 51Bruni B, 105Bruny Island B, 101building B, 52Burdekin River B, 51burnt trees B, 74bush B, 82bush at Chauncy Vale B, 66Bushy Park B, 97

calm evening B, 94Cambodia B, 102, 103Cambridge B, 100Campania B, 92Campbell Town B, 69canal entrance, Dunalley B, 69Cape Bernier B, 106Carlton Beach B, 98Cascades B, 58Central Australia B, 86–88, 91ceremonial rock and palm paddock B,

86channel B, 60Chauncy Vale B, 66cloud lifting off the Franklands B, 108cloud over Mt Anne B, 78cloud over the Franklands B, 108clouds, racing B, 109coast near Dunalley B, 93Cole’s Bay B, 54Colliboi B, 76Conningham B, 101Coronation Peak B, 77Coronets and Mt Wedge B, 108Coswell B, 81country near Deloraine B, 96country road Thailand B, 103countryside Nepal B, 101Cradle Mountain B, 74creek B, 92creek in flood B, 92crusher B, 54

dead tree pattern B, 80

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Deloraine B, 94, 96, 97demolishing B, 52derelict B, 95Derwent B, 83Derwent River B, 51Derwent from Taroona heights B, 82Derwent scene B, 99Derwent Valley B, 76dinghy B, 79, 91dock scene B, 73Dodge’s Ferry beach B, 62Domain B, 94Domain slips - ‘Alma Doepel’ B, 55down Elphinstone Road B, 65dry country B, 95dry paddock B, 63Dunalley B, 69, 93dwellings in Kathmandu Nepal B, 102

Eaglehawk Neck B, 106early morning B, 58early morning Tamar River B, 92East Coast B, 79, 84, 96, 98, 106, 109,

111East Coast near Binnalong Bay B, 100East Coast on a grey day B, 105eastern end Frankland range B, 108elms B, 55elms, morning B, 55Enterprise B, 66, 77entrance to Angkor Wat B, 103erosion and trees B, 90

farm waggon B, 69Federation Peak B, 67Finke River bed central Australia B,

87Finke River gum B, 87fishermens’ shacks, Bicheno B, 75fishing B, 58fishing boy B, 66flame tree and ruins Thailand B, 103Flinders Island B, 109Frankland Range B, 108Franklands B, 78from Redchapel Beach B, 57from the mountain B, 111fruit packing shed B, 56

gate at Hutton Park B, 97gate to Okehampton B, 59gateway to Angkor Wat B, 103gidgee tree central Australia B, 86glimpse of Lake Pedder B, 77glimpse of Mt Owen B, 74

glimpse of Old Beach B, 65granite hill and button grass B, 62gray morning B, 96Gray’s barn B, 65green field B, 79greenlees B, 79grey and green Meredith River B, 82grey and yellow B, 56grey barge B, 52grey day B, 54grey day at Deloraine B, 96grey day at Ralph’s Bay B, 98grey day in the bush B, 73grey landscape B, 110grey morning East Coast B, 79grey skies B, 90grey, study B, 110gum tree and barn B, 85gum trees B, 110gum trees near Oatlands B, 66gums in sunlight B, 73gums on the Domain B, 94Gunner’s Quoin B, 91

Hamilton B, 73Hamilton from Prospect Hill B, 93harmony in grey B, 99headland Carlton B, 95Hobart B, 52–54, 56, 57, 61, 63–65, 68,

70, 72, 75, 86, 94, 112hopfields, Derwent Valley B, 76hot day B, 73house among the trees Malaysia B, 104house at Bothwell B, 106houses in Macquarie Street B, 56houses on the River Kwai Thailand B,

104Howden B, 110Huon Chief B, 55Hutton Park B, 97

idle hour B, 58in a Malay kampong B, 104in Richmond B, 111in Salamanca Place B, 83inside Waverley B, 71interior B, 61isolated mountain and Mt Anne B, 81

Jordan River B, 68

Knocklofty B, 61

L.F.B. 699 B, 57lagoon B, 98Lake King William B, 84

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Lake Nicholls B, 95Lake Pedder B, 77–79, 81, 107–109Lake Pedder beach B, 77, 81Lake Pedder, east B, 84Lake Pedder, west B, 84Lake Phewa B, 101Lake Tahune B, 75Landscape B, 111landscape B, 62, 91, 92landscape near Deloraine B, 94landscape after fire B, 101landscape after rain B, 89last of the barges B, 72Leven, Ulverstone B, 69little Chinese temple Thailand B, 103little ghost gum B, 88London B, 51lonely dinghy B, 91lonely tree B, 98Low Head B, 94low tide B, 74low tide at Cambridge B, 100low tide at Howden B, 110low tide at Penang Malaysia B, 105low tide at Stanley B, 89low tide Swansea B, 80Lunawanna jetty B, 73

Malacca B, 104Malaysia B, 104, 105Malaysia B, 105Maria Island B, 74, 106Marion Bay B, 109, 111Marion Bay beach B, 83Mekong River B, 102Meredith River B, 82Merideth River B, 78midland pastures B, 65mist over the sea B, 95Mole Creek B, 70Montpelier Retreat B, 70morning B, 57morning light B, 98mountain B, 65mountain tops from Lake Tahune B,

75mountains and terraces Nepal B, 102mountains of the South-West B, 68Mt Anne B, 78Mt Direction B, 59Mt Direction from Risdon B, 54Mt Direction from the Domain B, 86Mt Dove B, 54Mt Dromedary B, 84Mt Machhapuchlare B, 102

Mt Owen B, 74Mt Solitary B, 77Mt Solitary from Lake Pedder Camp

B, 81Mt Solitary south west Tasmania B,

81Mt Solitary towards sunset B, 81Mt Strezlecki B, 109Mt Undoolya central Australia B, 87Mt Wedge B, 78Mt. Anne B, 73mulga scrub, Northern Territory B, 88

near Austin’s Ferry B, 62near Conningham B, 101near Deloraine B, 94, 96near Low Head B, 94near Lunawanna B, 105near Marion Bay B, 109near Port Sorell B, 99near Swansea B, 111near the Cascades B, 58near Wilmot harbour B, 69Nepal B, 101, 102Nepali or Kathmandu house B, 102New Norfolk B, 56, 93New Norfolk from Peppermint Hill B,

91New Town B, 56, 62

Oatlands B, 58, 66, 74Oatlands from Mt Burbury B, 90off shore at Malacca B, 104Okehampton B, 59Okehampton house B, 66Okehampton kitchen B, 61Okehampton landscape B, 66old barn B, 70Old Beach B, 65old building, Campbell Town B, 69old buildings, Hamilton B, 73old cottage near Oatlands B, 74old Hobart B, 61old mill, Gore Street B, 53, 54old quarry B, 61old stone, Okehampton B, 59old tree, old house B, 100old willow B, 64on the slips B, 52Orford B, 70Oyster Bay B, 79

Palmer River B, 87parliament buildings B, 112passing cloud B, 90

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Penang River B, 104Peter and Paul B, 79pine B, 55Pittwater B, 90poplar Deloraine B, 97poplar in winter B, 97Port Adelaide B, 70Port Sorell B, 99portion of Lake Pedder B, 78portrait of a dinghy B, 79promise of rain B, 92Prosser Bay B, 109

quartzite rocks, Lake Pedder B, 79quiet moorings B, 76quiet morning B, 86quiet street, New Town B, 56

racing clouds B, 109rain over Maria Island B, 74rain passing from the Franklands B, 78Ralph’s Bay B, 97, 98Ralphs Bay B, 101red bank and desert oak, Palmer River

B, 87red boats B, 76red house B, 57red track Swansea B, 84red tramp on the Yarra B, 85Redbanks B, 75Redchapel Beach B, 57reflections B, 51, 65repairs to Huon Chief B, 55Richmond B, 111Richmond landscape B, 111ring barked tree B, 94Risdon B, 54river bank, Swansea B, 77river mouth East Coast B, 111river reflections B, 92river scene B, 64road near Valleyfield B, 105road to the farm B, 58rock formation western shore B, 107rock pool B, 89rock study B, 60rocks B, 65rocks at Swansea B, 83Rokeby B, 91rough sea B, 96

Salamanca Place B, 83sand dune B, 93sandstone B, 57Sandy Bay B, 64, 100

sawdust and spire B, 58Schouten Island B, 75sea piece B, 79Seaford B, 93seascape, Bruni B, 96she oak by the shore B, 95sheds B, 55Sheffield B, 74ship in port B, 82ship moored Sydney B, 51ships and landscape B, 64ships in port B, 72silver light B, 88Simpson’s Gap B, 87sketch for Mt Machhapuchlare B, 102slipyard B, 57slipyards B, 55slipyards, Sandy Bay B, 55south Bruny headlands B, 101St Johns New Town B, 62stables at Waverley B, 71Stanley B, 89storm approaching Pittwater B, 90Strezlecki Park B, 109study in grey B, 110sunburnt country B, 64Sungei Kelaton River B, 105sunny morning B, 56Swansea B, 63, 75, 77, 80, 83, 84, 111Swansea and Schouten Main B, 81Swansea landscape B, 76Sydney B, 51

tall gum B, 70tall trees, near Sheffield B, 74Tamar River B, 92Tarana B, 105Tasmanian valley B, 69temple ruins B, 103Thailand B, 103, 104to Hobart B, 56towards Maria Island B, 106tramps on the Yarra B, 85tranquil morning B, 62tree and bush B, 97tree contrasts B, 76trees B, 61trees at Orford B, 70trees by the sea B, 85trees in Sandown Park B, 106two gates B, 85two gums B, 99two trees Northern territory B, 91

Ulverstone B, 69

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university B, 99up for repairs B, 64

Valleyfield B, 105verandah at Waverley B, 71Victoria Dock B, 68Victoria Dock, Enterprise B, 66Victoria Street B, 75view to Buckie’s Bonnet B, 107village under the cliff B, 69

wartime shipping B, 63waterfront B, 63Waverley B, 58, 71Waverley B, 71week-end cottage B, 62white pheasant B, 52white sands B, 60white sands at Seaford B, 93willow B, 94willow tree in winter B, 98Wilmot harbour B, 69winter calm B, 94womens’ penitentiary B, 57Woolnorth pastures B, 75workshop at Waverley’ B, 71wreck of the Colliboi B, 76Wynyard B, 85, 89

Yarra B, 85yellow door B, 91

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