Emanuel Phillips Fox

Australia (18651915 ) - Artworks Wikipedia® - Emanuel Phillips Fox
FOX Emanuel Phillips Manly Beach

Menzies Art Brands /Sep 13, 2012
37,732.69 - 54,502.77
64,744.00

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Artworks in Arcadja
79

Some works of Emanuel Phillips Fox

Extracted between 79 works in the catalog of Arcadja
Emanuel Phillips Fox - The Temple Of Love, Versailles

Emanuel Phillips Fox - The Temple Of Love, Versailles

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Lot number: 8
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EMANUEL PHILLIPS FOX (1865-1915) The Temple of Love, Versailles oil on canvas 45.5 x 31.5 cm inscribed on stretcher verso: The Temple of Love Provenance: Christie's, Melbourne, 22 October 1975, lot 388 Private collection, Melbourne Deutscher-Menzies, Sydney, 14 June 2006, lot 87 Private collection, Melbourne Reference: Zubans, R., E. Phillips Fox: His Life and Art , Miegunyah Press, Melbourne, 1995, cat.222 Related Works: Temple of Love, Versailles , illus. in; Catalogue of Pictures by the late E. Phillips Fox and Ethel Carrick , South Australia Society of Arts Gallery, Adelaide, 15 July - 3 August 1925, cat.36
Emanuel Phillips Fox - Sea At Narrabeen

Emanuel Phillips Fox - Sea At Narrabeen

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Lot number: 80
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EMANUEL PHILLIPS FOX (1865 – 1915) SEA AT NARRABEEN, c1913–14 oil on canvas 36.5 x 46.0 cm signed lower right: E. Phillips Fox Leonard Joel, Melbourne, 14 July 1955 (label attached verso) Private collection Sotheby’’’’s, Melbourne, 27 March 1988, lot 85 Private collection, United States of America Catalogue of Pictures by the Late E. Phillips Fox , Upper Athenaeum Hall, Melbourne, 29 February 1916, cat. 66 Exhibition of Oil Paintings by the Late E. Phillips Fox , Fine Art Society’’’’s Galleries, Melbourne, 22 July – 2 August 1919, cat. 40 On extended loan to Newcastle Region Art Gallery, New South Wales (label attached verso) Zubans, R., E. Phillips Fox: His Life and Art , The Miegunyah Press, Melbourne, 1995, p. 229, cat. 451 Like his friend and contemporary Rupert Bunny, Emanuel Phillips Fox excelled in subject painting, portraits and landscapes, his most memorable works including A Love Story (Art Gallery of Ballarat, Victoria), Bathing Hour , c1909 (Castlemaine Art Gallery and Historical Museum, Victoria), and The Ferry , c1910–11 (Art Gallery of New South Wales, Sydney). Visiting Australia in 1913 with his artist-wife Ethel Carrick, Fox received a number of prestigious portrait commissions the most significant being that of the Prime Minister Andrew Fisher for Canberra’’’’s Historic Memorials Collection, and of Henry Giles Turner, President of Trustees of the National Gallery of Victoria. Both Fox and Carrick held exhibitions in Melbourne and Sydney, the Art Gallery of New South Wales purchasing Motherhood, 1908 from Fox’’’’s Sydney show at the Royal Art Society. A number of sparkling landscapes and seascapes – Fairy Bower, Manly, Cremorne Point, and Rocks at Balmoral with others – were painted in Sydney prior to the opening, for special inclusion in the exhibition. Such was their popularity that Fox painted more after the exhibition closed, and again in 1914. Fairy Bower , Manly was so favoured that he painted three different versions. ‘He had always found scenes of the sea and water seductive’’’’, Ruth Zubans noted in her classic study of Fox’’’’s work, ‘and Manly, with its sun and glorious setting, became on of his favourite sites.’’’’ 1 The Green Wave, Manly , c1914 (National Gallery of Victoria, Melbourne) is another sunny triumph, so full of colour, atmosphere and vivacity that the viewer is seemingly transported to the scene and the sound of the great wave breaking. While the waves that break on the shore in Sea at Narrabeen , c1913–14 are different in that they are seen as part of the wider, more panoramic view, the painting has all the same, seductive appeal. Colours are deeper and more sumptuous, the breezy atmosphere enveloping. When exhibited in Fox’’’’s posthumous show at the Upper Athenaeum Hall, Melbourne in February 1916, the art critic for The Argus noted that he sometimes handled his landscapes ‘by means of dexterous impressionism that fully realised the essentials of the scene he had chosen ...’’’’, as much in the joyous, sunny moments of Sydney Harbour as in the south of France. ‘The sea’’’’, he continued, ‘was also a favourite subject with Mr. Fox, and its placid moments appealed to him most. Many striking studies are hung of sunlit waters and stretches of coast in Sydney, Hobart, and Melbourne, Sorrento having supplied motives for three.’’’’ 2 For Fox, nature was the springboard of his inspiration, the enthusiasm of his response being as readily felt in scenes of Australia’’’’s different coastlines as of the Mediterranean. 1. Zubans, R., E. Phillips Fox: His Life and Art , The Miegunyah Press, Melbourne, 1995, p. 165 2. ‘Late Mr. Fox’’’’s Pictures’’’’, The Argus , Melbourne, 29 February 1916, p. 9 DAVID THOMAS
Emanuel Phillips Fox - Autumn

Emanuel Phillips Fox - Autumn

Original 1889
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Lot number: 31
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Emanuel Phillips Fox (1865-1915) Autumn 1889 signed and dated 'E P Fox 89' lower left oil on canvas 81.6 x 116.5cm (32 1/8 x 45 7/8in). PROVENANCE Possibly Joel Fox, Melbourne (the artist's brother) Geoffrey Summers, Melbourne Private collection, Melbourne Deutscher Fine Art, Melbourne The Farrow Collection, Melbourne The Farrow Sale , Leonard Joel, Melbourne, 27 November 1991, lot 17 Private collection, Melbourne EXHIBITED Societe des Artistes Francais , The Old Salon, Paris, 1890, cat. 960 Exhibitions of Works of Victorian Artists and a Loan Collection of Pictures , Exhibition Building, Melbourne, 1890, cat. 23 Melbourne Art Salon , Australian Buildings, Melbourne, 1892 Victorian Artist's Society Loan Exhibition , National Gallery of Victoria, Melbourne, 1893, cat. 147 Australian Art: 1790s-1970s , Deutscher Fine Art, Melbourne, 24 November - 9 December 1988, cat. no. 21 (illus.) The Art of E. Philips Fox , National Gallery of Victoria, Melbourne, 9 November 1994 - 30 January 1995, cat. no. 2 Impressions of Colour: Colour in Australian Art , Lauraine Diggins Fine Art, Melbourne, 18 August - 29 September 2012, cat. no. 7 (illus.) LITERATURE Len Fox, E. Phillips Fox and his family , Sydney, 1985, p.36 Helen Leembruggen, E Phillips Fox: Catalogue of Works , BA thesis, University of Melbourne, 1962, cat. no. 3, (illus.) Ruth Zubans, E. Phillips Fox: His Life and Art , The Miegunyah Press, Melbourne, 1995, cat. no. 11, pg. 22 (illus.), p.20, pp. 31, 34-38, 79 Ruth Zubans, E. Phillips Fox 1865 - 1915 , National Gallery of Victoria, 1994, cat. no. 2, (illus.), p.18, pp.2-3, 18 " Autumn and the now damaged The Knitter were the two paintings with which Fox made his debut at the Paris Salon in 1890. When Autumn was exhibited in Melbourne soon after, it was highly praised. Painted in the region of Finistère in Brittany, France, from open air studies, it is an evocative depiction of autumn mists and russet tones with a lone figure humanising the scene. Associated with the passing of human life, the theme of autumn was a favourite subject at the end of the century."1 Born in Melbourne, Fox enrolled at the Gallery School in 1878. In 1887 he departed for Paris and studied at the Ecole des Beaux-Arts. He also took lessons from Thomas Alexander Harrison who painted in an 'impressionist' style. Phillips Fox took part in plein air excursions to Brittany and stayed with the plein air painters of St Ives. Upon returning to Melbourne, he and Tudor St George Tucker opened a summer school at 'Chartersville', teaching methods 'based on the French system.' Painted in 1889, Autumn was based on plein-air sketches made in Brittany, a region particularly inspiring for artists, perhaps most famously Gauguin who was in Le Pouldu in October 1889 where Fox spent the summer and autumn of 1889. The inclusion of the peasant figure harks back to Bastien-Lepage and Millet.2 "The picture of Autumn ....represents a wood in Finistère in mid autumn. A silvery grey sky is visible through the interwoven boughs, half despoiled of their verdure. The ground is thickly strewn with dead leaves of rich russet brown, and the solitary figure of an old woman bending under her load of faggots descends the winding road. All the joyous brilliancy and active life of summer are fled, and a feeling of stillness and repose reigns everywhere".3 "The colours are more subdued ... to achieve the desired autumnal effect, but Fox has effectively captured the damp of the scene with cool blue-greens, and the soft blurring towards the back suggests a rising mist. Fox's sure sense as a colourist is apparent in his use of the contrasting russets and blues."4 1 Ruth Zubans, E. Phillips Fox 1865 – 1915 , National Gallery of Victoria, 1994, p.2 2 Ruth Zubans, E. Phillips Fox: His Life and Art , The Miegunyah Press, Melbourne, 1995, p. 37 3 The Age , 6 Dec 1892 4 Ruth Zubans, E. Phillips Fox: His Life and Art , The Miegunyah Press, Melbourne, 1995, p. 38
Emanuel Phillips Fox - Manly Beach

Emanuel Phillips Fox - Manly Beach

Original 1913
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Lot number: 14
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Lot 14 EMANUEL PHILLIPS FOX (1865-1915) Manly Beach c1913 oil on canvas 33.0 x 46.0 cm signed lower left: E. Phillips Fox Provenance: Sotheby's, Sydney, 29 November 1991, lot 354 Private collection, Sydney Estate of the above, Sydney Exhibited: Pictures by E. Phillips Fox , The Royal Art Society, Sydney, 13 - 28 October 1913, cat.63 Reference: Zubans, R., E. Phillips Fox: His Art and Life , Melbourne University Press, Melbourne, 1995, cat.U208, p.236 Estimate: $ 45000 - 65000 Auction Title: Sydney - 13 September 2012 - (Mountain - 0059) AUCTION AUCTION Important Australian & International Fine Paintings & Sculpture Menzies Gallery 13 September 2012, 6.30pm 12 Todman Avenue, Kensington, NSW 2033 VIEWING MELBOURNE Thursday 30 August – Sunday 2 September, 11am - 6pm Menzies Gallery 1 Darling Street SOUTH YARRA VIC 3141 VIEWING SYDNEY Thursday 6 – Wednesday 12 September, 11am - 6pm Menzies Gallery 12 Todman Avenue KENSINGTON NSW 2033 If you cannot attend the auction, you may either: Register to absentee bid on this lot Register to telephone bid on this lot Terms and Conditions Contact us regarding this lot Email a friend
Emanuel Phillips Fox - On The Balcony

Emanuel Phillips Fox - On The Balcony

Original 1912
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Lot number: 42
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EMANUEL PHILLIPS FOX (1865 – 1915) ON THE BALCONY, c1912 oil on canvas 96.5 x 64.5 cm signed lower right: E. Phillips Fox Gift of the artist to Edith Boyd, Paris, c1912 Thence by descent Robin Boyd, Melbourne, 1961 Thence by descent Patricia Boyd, Melbourne, 1971 Estate of the late Patricia Davies (formerly Mrs Robin Boyd), Melbourne Société Internationale de Peinture et de Sculpture , Galerie Georges Petit, Paris, December 1912, cat. 46 (as ‘Sur le balcon’’’’) E. Phillips Fox , 1865–1915 , National Gallery of Victoria, Melbourne, 9 November 1994 to 30 January 1995, cat. 54 (label attached verso) Art, Love and Life: Ethel Carrick and E. Phillips Fox , Queensland Art Gallery, Brisbane, 16 April – 7 August 2011 Zubans, R., E. Phillips Fox 1865–1915 , National Gallery of Victoria, Melbourne, 1994, cat. 54, p. 68 (illus.) Zubans, R., E. Phillips Fox, His Life and Art , Miegunyah Press, Melbourne, 1995, cat. 405, p. 150, pl. C66 (illus.) Eagle, M., The Oil Paintings of E. Phillips Fox in the National Gallery of Australia , National Gallery of Australia, Canberra, 1997, p. 64 Goddard, A., Art, Love and Life: Ethel Carrick and E. Phillips Fox , Queensland Art Gallery, Brisbane, 2011, pp. 23, 157 (illus. p. 96) On the Balcony is a very special work of art. Painted when Emanuel Phillips Fox was living in Paris during the height of la belle époque , it presents a captivating essay on elegance and savoir-faire, revealing the poise and grace of an age when Paris was the unrivalled centre of European taste and sophistication. It likewise has considerable historical significance, being the outcome of a fortuitous combination of events. Following his marriage to Ethel Carrick in 1905, the Foxes moved to Paris, the happy coincidence inspiring some of his best paintings. The garden they created for their apartment on the Boulevard Argo was a perfect setting for many, as seen in On the Balcony and its companion Nasturtiums c1912, acquired last year by the Art Gallery of New South Wales in memory of Margaret Olley. These two, together with The Green Parasol in the collection of the National Gallery of Australia, Canberra, are among his most beautiful works. The radiance of each painting matches that of the model, the exquisitely beautiful redheaded Edith Susan Gerard Anderson (1878 – 1961). The talented Anderson studied for a time under Fox, her circle of friends including Rupert Bunny and his enchanting French wife Jeanne-Heloise. As the bond between Edith and the Foxes grew, she became his favourite model. Fox introduced her to the artist in the studio next door, Penleigh Boyd. After a whirlwind romance, Boyd and Anderson were married in Paris in October 1912. Fox hosted parties for them and gave Edith away, the wedding present being a portrait of Edith (private collection). On the Balcony was painted during the preceding summer months, as suggested by two entries in Edith’’’’ s diary for 21 and 22 June referring to her posing for Fox ‘against sunlit creepers’’’’. 1 The significance of On the Balcony in the wider context of Australian art is increased greatly through these associations, painted when Edith was about to enter the Boyd dynasty of highly creative Australians. Her future son, Robin, was one of Australia’’’’ s most renowned architects. The painter, Arthur, was her nephew. While portraiture was immensely popular during the late nineteenth and early twentieth centuries, aesthetic appeal was held to be of equal importance to likeness. The London Academy and Paris Salon catalogues often listed the sitter’’’’s name as an adjunct to the subject title. 2 In On the Balcony , the line between portraiture and subject painting is suitably blurred, enhanced by its considerable aesthetic appeal. Who can resist the nuanced smile, inviting modesty of hooded eyes and downward look, demurely avoiding the viewer’’’’s gaze? Attired in a pale mauve costume edged with black, with black hat and gloves to match, this splendid image of languor is engagingly redolent of one of the most stylish ages in Western civilization. 1. Edith Anderson’’’’s diary, Paris, 1 January – 12 July 1912, private collection, Canberra 2. Years previously, Whistler had referred to them as ‘arrangements’’ ’’, the most memorable being Arrangement in Grey and Black: Portrait of the Painter’’’’s Mother (Musée d’’’’Orsay, Paris) DAVID THOMAS
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