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A direct north general view of Sydney Cove ... 1794 ... / oil painting

Item 01: Portrait of Margaret Coen, 1932 / Edmund Arthur Harvey

1. Bookplate. Portrait of a kneeling woman. Ink. Unsigned and undated

2-3. Two unidentified oil portraits on canvas

Political cartoons
4. Not in the text book [cartoon - Hitler, Mussolini & the African Campaign]. Unsigned & undated
5. So far so good [cartoon - Hirohito dominant over Mussolini & Hitler]. Unsigned & undated. Pencil sketch on verso
6. New world order [cartoon - Hitler, Mussolini & Hirohito]. Signed
7. What is it? [cartoon - Chamberlain, Mussolini & Hitler]. Signed
8. The enemy within [part of cartoon sequence of child drawing Nazi swastikas]. Signed
9. A bad scare [cartoon dealing with the issue of National Insurance & our political issue dodgers]. Signed. (Sketch on verso - "King Herod")

Non-political cartoons
10. I lost me fare [cartoon]. Signed & undated
11. A method in his madness [cartoon]. Captioned, signed & dated 1934. Sketches on verso
12. A lot to learn [cartoon]. Captioned, signed & dated 1933
13. Illustration to Asmodeus (Le Sage). Signed & dated 1934 (Sketch on verso showing horses & jockeys - 1934)
14. Cartoon on an inferiority complex. Captioned, signed & dated 1930
15. Cartoon on occupational roles and male domesticity. Captioned, signed & dated 1931
16. Cartoon on a conversation between a man and woman on lack of reason and the loss of a fiance. Captioned. Signed & dated 1933
17. Cartoon on popular magazines. Captioned. Signed & dated 1937. Name and address on verso: "Walsh 34 Mount St Coogee"
18. Cartoon on the arrival of a new baby. Captioned. Signed & dated
19. Cartoon on contrast in marriage partners. Captioned. Unsigned & undated
20. Cartoon on soldier admonishing a civilian. Unsigned and undated. Captioned. Pencil sketch on verso for cartoon "The taxi driver amateur makes the home turn" [horse racing]
21. Cartoon on 18th century aristocrats [possibly illustration to Asmodeus?]. Unfinished, untitled, unsigned and undated. Another cartoon on verso about housepainting.

Advertisements with the caption "It's moments like these you need"
22. Cartoon on burglar interrupted by crying child and dog. Signed and undated
23. Cartoon on man dragged by his dogs chasing smaller dog. Signed. Undated
24. Cartoon on wagon and horse stranded in river. Sketches of 3 heads on front. Unfinished sketch on verso: 'German People - the lilies of Aryan purity'. Signed. Undated

Colour covers for Quiz
25. Wait here for trams. Unsigned, undated; unidentified portrait on verso
26. Woman conjuring gifts in front of a man. Signed and undated
27. Wanted before Xmas. Sketch on verso signed and dated 1929

Colour cover for Aussie
28. Undies number. Signed. Undated

29. Rough out of idea for cover. A Winter's Tale [colour cartoon]. Signed

Portraits
30. Guy Bates - Post [?]. Signed and dated 1924
31. [Two individual portraits] Stephen McKenna and Eden Philphotts. Signed and undated.
32-36. Five unnamed portraits. Unsigned and undated

Women's fashions
37-39. Illustrations. Unsigned and undated. Appears to be 1900s-1920s period fashions. No.38 signed & dated 19 [or 29?]. Unfinished cartoon and caption on verso

40. Design drawing of Christ for a stained glass window for Radecki & Co?, ca.1915-1920? Unsigned, undated, untitled. 145 x 56 cm.

Photographs
41. The Studio. Photo of John Walsh & associates, Darlinghurst 1925. Captioned on verso: "The Studio August 1925. Back row Stan Ewing - Norman Busby - John Walsh & Geo Duncan in background. Cecil Yates. Front Row 'Paddy' Bates. Olive Cooper. Pearl Hillyer - 'Babe' Williams (model). August 1925. The Studio at Darlinghurst (Kirkham Rd)"
42. John Walsh, 1952

43. Published material
Colour covers: Quiz Annual no. 2 [undated; ca.1940?]; Quiz February (undated), March (undated), October (undated); Quiz July [1932]; Quiz January [1953]; the GP Detective Stories No.4

Published cartoon cuttings from Quiz, July 1939-July 1948

Calling cards for John D. Walsh. Commercial illustrator (3)

Account sheets of John D. Walsh. Illustrator and designer (9)

Cartoons and illustrations by John Walsh, ca.1919-1953

This article presents an overview of Liu Kang’s (1911–2004) canvas painting supports from his early artistic phases, Paris (1929–1932) and Shanghai (1932–1937). The research was conducted on 55 artworks from the collections of the National Gallery Singapore and Liu family. The technical examination of the paintings was supplemented with archival photographs of the artist at work to elucidate his practice of preparation of painting supports. The analyses conducted with light microscopy, SEM–EDS, and FTIR allowed us to characterise the structure of the canvases and identify the natural fibres and formulation of the grounds. In addition, references to contemporary colourmen catalogues, in relation to certain materials, were made. The obtained results suggest that, in both locations, Liu Kang employed commercially prepared canvases purchased by the roll or by the metre, together with bare strainers or stretchers of standard sizes. In Paris, the artist commonly used linen canvases, while in Shanghai he preferred cotton canvases, with linen used sporadically. The identified grounds from the Paris and Shanghai canvases are white and single-layered, but their formulations vary significantly between the two locations. Hence, grounds composed predominantly of lead white with extenders and drying oil as a binder are considered as exclusive to the Paris phase. However, semi-absorbent or absorbent grounds based on chalk are typical for Shanghai phase. This research contributes to the knowledge of Liu Kang’s painting materials and working practices during the pre-war period in Paris and Shanghai.

Heritage science, 2021-03, Vol.9 (1), p.1-32, Article 37

Technical examination of Liu Kang’s Paris and Shanghai painting supports (1929–1937)

To obtain uniformity of a preferred painting surface or for superior durability, some painters prefer to prepare their own canvases rather than to use commercially prepared canvas. The author describes an ancient method of canvas preparation that he has used with excellent results. Paintings prepared in this manner 300 years ago have been found to have exceptional durability.

Leonardo (Oxford), 1987-01, Vol.20 (3), p.262-264

Walnut Oil-Litharge Priming for Canvas Paintings

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A direct north general view of Sydney Cove ... 1794 ... / oil painting

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Item 01: Portrait of Margaret Coen, 1932 / Edmund Arthur Harvey

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Cartoons and illustrations by John Walsh, ca.1919-1953

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Technical examination of Liu Kang’s Paris and Shanghai painting supports (1929–1937)

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Walnut Oil-Litharge Priming for Canvas Paintings

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