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Lot 38
Anne Dangar(1885-1951)Beach at Henley, 1923
Withdrawn
Amended
26 August 2025, 18:00 AEST
SydneyAU$5,000 - AU$8,000
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Alex Clark
Head of Sale, Senior Specialist
Merryn Schriever
Managing Director, Australia
Anne Dangar (1885-1951)
Beach at Henley, 1923
signed and dated lower right: 'Anne.C.Dangar. 1923'
watercolour on paper
39.0 x 32.5cm (15 3/8 x 12 13/16in).
signed and dated lower right: 'Anne.C.Dangar. 1923'
watercolour on paper
39.0 x 32.5cm (15 3/8 x 12 13/16in).
Footnotes
PROVENANCE
Family of the artist, Sydney
thence by descent
Private collection, Sydney
EXHIBITED
Anne Dangar, National Gallery of Australia, Canberra, 7 December 2024 – 27 April 2025, cat. 74
LITERATURE
Rebecca Edwards, Anne Dangar, National Gallery of Australia, Canberra, 2024, p. 30 (illus.)
Curator Rebecca Edwards notes of this period in the artist,
'Few traces of Dangar's artistic output from this period exist. Sadly, much of the work she produced in the 1910s and 1920s was lost in 1930, when a fire destroyed the home of her sister Ruby and brother-in-law Andrew Singleton. Nonetheless, a sense of her practice can be gained through her few surviving works, and in the years after the First World War she actively exhibited her work in Sydney, firmly positioning herself alongside a cohort of younger artists connected to the Sydney Art School. Watercolours created around 1923 depicting her young nieces and nephews show both her assimilation of Ashton's approach at this time and a discernible lack of engagement with modern art. Her watercolour of the Beach at Henley (cat. 74) was likely executed en plein air, with pigment applied rapidly in broad sweeps and overlaid with staccato surface marks. The youthful figures lack individual detail, and Dangar instead captures the playful poses of the children.
As well as emulating Ashton's technical methods, other works of this period, now known only through exhibition catalogues and reviews, demonstrate that Dangar did not stray far from his prescribed subjects. Titles such as A Bush Kitchen, The Old Barn, At Watson's Bay and Early Morning, Berrima, appearing in the exhibition Eleven Australian Women in June 1921, reflect the scenic landscapes and historical and sentimental subjects generally favoured by Ashton, and to which Crowley was also drawn at this time. Three years later, in 1924, Dangar was a founder of the 'Younger Group of Australian Artists', and showed work with Crowley in the group's first and second exhibitions. Notably, however, neither artist was technically young — Dangar was 38 and Crowley in her mid 30s — and, as reviewers of the exhibition observed, the work exhibited was hardly youthful, appearing no different to the paintings of Sydney's older generation of artists, notably Ashton, who opened their inaugural exhibition.'
Saleroom notices
This lot is withdrawn.