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Lot 41
Ethel Carrick Fox(1872-1952)Kashmir, India, c.1939
26 August 2025, 18:00 AEST
SydneySold for AU$4,674 inc. premium
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Alex Clark
Head of Sale, Senior Specialist
Merryn Schriever
Managing Director, Australia
Ethel Carrick Fox (1872-1952)
Kashmir, India, c.1939
gouache on paper
25.0 x 34.0cm (9 13/16 x 13 3/8in).
gouache on paper
25.0 x 34.0cm (9 13/16 x 13 3/8in).
Footnotes
PROVENANCE
Private collection
Bill and Eileen Cammack, Sydney
Lawsons, The Bill & Eileen Cammack Collection, Sydney, 6 July 2014, lot 439
Private collection, Sydney
Shapiro Auctioneers, Sydney, 28 September 2021, lot 130
Private collection, Sydney
Handwritten note attached verso authenticating the work, signed by Will Ashton and Frank Payne, dated 4 January 1953.
LITERATURE
Deborah Hart, Ethel Carrick, National Gallery of Australia, Canberra, 2004, p. 114, fig. 28 (illus.)
In her lyrical and informative 2024 monograph, Ethel Carrick, curator Deborah Hart of the National Gallery of Australia provides the following insight into the artist's time in India,
'Late in 1935, Carrick travelled to India, going to Adyar for the Diamond Jubilee Convention of the Theosophical Society in late December. Records note that around 2000 people attended from around the world. Annie Besant, a champion of Indian self-rule and president of the Society until 1933 (the year she died) was called upon in spirit for her blessing.
Through 1936, Carrick exhibited in various venues across India, including at the Srinagar Club in Kashmir, Nedou's Hotel in Gulmarg and with the Punjab Literary League in Lahore, where her works were shown alongside those by Mr and Mrs Roop Krishna and Mr Chughtai in a "fine arts display". Around Christmas Day in 1936, Carrick's solo exhibition launched at the club house of the Punjab Literary League, organised by the Art Circle of the League. The show was opened by Lady Boyd and Mr Roop Krishna, a Punjabi artist, who remarked that Carrick was a "very famous artist" whose paintings had been exhibited in various venues in London and Paris. From a review of the exhibition, we can attain a sense of the works shown, many of which were undertaken during her visit to India:
The work of Mrs Phillips Fox is distinguished for its life, light, colour and character. It is a practical record of her impressions of Kashmir. One noticed [the] unfaltering decision of touch with which Morning on the River Jhelum had been painted. The same combination is seen in the treatment of A Lilac Festival and The Grass cutters—a rhythmic composition of figures in movement and repose, rich in colour and tone. A directness of vision and insight into character that lies behind the actual mask is remarkably shown in the portrait work of this artist. Mahatma and A Sikh Youth may be mentioned as two examples.
During her visit, Carrick travelled through Kashmir, depicting the landscape in delicate, luminous gouaches painted at different times of day, from early morning to evening. She conveyed the richly verdant terrain at Ganderbal in the mountains, with the wooden huts of the Gujjar people in a number of small travel paintings that would be shown alongside others from different locations in her exhibition at Cooling Galleries, London, in June 1938. This included Kashmir, India c 1939.'