Robert Emerson Curtis (18 results)

Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

4to, 80pp. Original predominantly white pictorial boards, slightly rubbed. A memoir of Robert Emerson Curtis on the constructions of the Sydney Harbour Bridge. Numerous b/w illustrations in a wide range of media. Front endpaper hold a loose newspaper clipping pertaining to the 55th anniversary of the Sydney Harbour Bridge. A brigtht copy in near-fine condition.

Condition: New.

Condition: New.

Condition: Good. Some scuffing to the cover edges, scratches and marks to both sides. The content of the book is clean and readable throughout, a decent copy inside.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. frontis, tipped in illustrations, 83p. Original cloth. dj. 28 cm. Jacket rather edge-worn with some chips snd tears.

Hardback, 21x28.5cm, unpaginated. Very good condition (light wear and marks; foxed at edges; spine slightly cocked) in good dustwrapper (light wear; unevenly sun-faded at edges; 1-2cm tears at head of spine). This special signed edition is limited to 1,000 copies of which this is copy No. 692. ISBN: 0908001258. Pictures available on request.

4to. Or.cl. 83pp. Profusely illustrated in colour & b/w, with tipped-in Col.plates. Very Good copy. 1st ed. Scarce. A collection of the Author's drawings showing the progress in construction.

Hardback. Robert Emerson Curtis, Collins. Author: Robert Emerson CurtisBinding: HardbackPublished: Collins, 1982Condition:Book: GoodJacket: No dust jacket - some marks on spine and cornersPages: GoodMarkings: Previous ownerThis remarkable volume, Building The Bridge: Fourteen Lithographs Celebrating The Construction Of The Sydney Harbour Bridge, presents a stunning visual chronicle of one of the twentieth century's most ambitious engineering feats. Through a series of fourteen meticulously crafted lithographs, the work illustrates the monumental scale and intricate processes involved in erecting the iconic Sydney Harbour Bridge. The collection captures the spirit of innovation and human endeavor, offering a unique artistic perspective on the bridge's construction from its foundational stages to its triumphant completion. It stands as both a significant historical document and a testament to the power of art to preserve and celebrate human achievement, making it an essential acquisition for enthusiasts of Australian history, engineering, and fine art. The powerful imagery conveys the immense effort and vision behind this architectural marvel. Hardback.

Revised Edition (to celebrated the 50th Anniversary of the Harbour Bridge), of a title first published in 1933. Signed by the author/artist. Hardcover. Large quarto-size. A touch of wear along the spine, otherwise fine in pictorial boards as issued. Fourteen handsome lithographs (from drawings sketched on site, often high on the girders with the workers, in 1933) with brief commentary by Curtis. Flat-signed by the artist (and dated March 1982) on the title-page.

(Sydney 1981). 4to. Original cloth. Dustjacket. With frontispiece, and numerous b/w illustrations throughout. Limited and signed edition. Fine. NOTE: The story of Sydney's grand Harbour Bridge, with fine sketches, lithographs, notes from the artist's diaries - and the facts and figures.

Sydney, Simmons, 1933. Folio. Original cloth-backed illustrated boards, pp. [54], 12 full-page lithographs and one tipped-in colour lithograph; an exceptionally well-preserved copy.First edition, number 88 of a print-run of 400, signed by the artist. This beautiful publication celebrates the completion of Sydney Harbour Bridge. J.J.C. Bradfield writes in the foreword 'The Sydney Harbour Bridge, so long a dream, is to-day a bold and practical reality. A triumphant arch of steel, humanising our landscape in the Ideals of all true Australians, simplicity, beauty and service. It was a Big Plan ; the thoughts and strivings of many men. Its success lies in the loyalty of Engineers and Workmen to the Ideal of the Big Plan. Inch by inch, step by step, they built the Bridge, until to-day it is finished, a work of service, a thing of beauty, which will assert itself long after we are gone. In the following drawings, Mr. Curtis tells you something of the magnitude of the work that lay before the Builders. When an important stage in the construction had been reached, when the subject was "meat" for his pencil, whether by accident or design, he would invariably be seen, somewhere, "on the job." In these drawings are expressed the strength, the labour, the romance of a great undertaking' (p. 4).'Robert Emerson Curtis (1898-1986), artist, arrived in Sydney from England in his mid-teens. Having studied art by correspondence, he went to the USA with his friend, cinematographer Charles Chauvel, in 1922 and spent six years in San Francisco and Chicago, studying, creating etchings and woodcuts and illustrating various magazines. Surprised on his return to Sydney to find that an arch bridge was under way, he approached engineer John Bradfield and requested access to the Sydney Harbour Bridge site. Over the ensuing years he created a series of lithographs documenting the construction. Some of these were published as Building the Bridge in 1933' (National Portrait Gallery, Australia, online).

Condition: Very Good. An original black pencil drawing, mounted and matted (visible image size 254 × 220 mm), signed in pencil in the bottom right corner. Horizontal crease across the middle; in very good condition. Robert Emerson Curtis (1898-1996), English-born Australian artist, architectural draftsman, camouflage officer, and official war artist, emigrated to Queensland in 1914. In 1922 he 'travelled to the USA with his great friend, the pioneer filmmaker, Charles Chauvel. There he developed what was to become a lifelong interest in industrial modernism and on returning to Sydney in 1928 he set about documenting the construction of the Sydney Harbour Bridge. He painted murals and did industrial illustration in 1932-38, including the series "Australia at Work", which was syndicated in Australian newspapers. During WWII Curtis recorded working life in the Commonwealth Munition factories (1939-41), worked as Camouflage Officer in Australia and with the RAAF in New Guinea (1941-43), until he was finally appointed an official war artist to record the nation's industrial war-time production (1943-45). More than 200 works are in the Australian War Memorial (AWM) collection' (Design & Art Australia Online).

Condition: Very Good. An original pencil drawing, mounted and matted (visible image size 178 × 288 mm), initialled ('R.E.C.') and captioned in pencil in the bottom right-hand corner. The drawing is slightly foxed, with a short closed vertical crack (approximately 60 mm) barely visible in the sky above the tree; the mat is slightly bumped at one top corner; overall, in very good condition. An article in the Adelaide 'Advertiser' on tourism in the 'Picturesque Northern Towns' (Monday, 16 December 1929) refers to 'Watervale, with its fine gums and wealth of undulating vineyards, is another of the show places of the locality, and the well-known Springvale winery and distillery is situated in this locality'. Robert Emerson Curtis (1898-1996), English-born Australian artist, architectural draftsman, camouflage officer, and official war artist, emigrated to Queensland in 1914. In 1922 he 'travelled to the USA with his great friend, the pioneer filmmaker, Charles Chauvel. There he developed what was to become a lifelong interest in industrial modernism and on returning to Sydney in 1928 he set about documenting the construction of the Sydney Harbour Bridge. He painted murals and did industrial illustration in 1932-38, including the series "Australia at Work", which was syndicated in Australian newspapers. During WWII Curtis recorded working life in the Commonwealth Munition factories (1939-41), worked as Camouflage Officer in Australia and with the RAAF in New Guinea (1941-43), until he was finally appointed an official war artist to record the nation's industrial war-time production (1943-45). More than 200 works are in the Australian War Memorial (AWM) collection' (Design & Art Australia Online).

Condition: Fine. An original black pencil drawing, mounted and matted (visible image size 254 × 180 mm), initialled and captioned in pencil along the bottom edge. The drawing is slightly foxed, with one short errant pencil mark in the right background; the mat is in fine condition. Robert Emerson Curtis (1898-1996), English-born Australian artist, architectural draftsman, camouflage officer, and official war artist, emigrated to Queensland in 1914. In 1922 he 'travelled to the USA with his great friend, the pioneer filmmaker, Charles Chauvel. There he developed what was to become a lifelong interest in industrial modernism and on returning to Sydney in 1928 he set about documenting the construction of the Sydney Harbour Bridge. He painted murals and did industrial illustration in 1932-38, including the series "Australia at Work", which was syndicated in Australian newspapers. During WWII Curtis recorded working life in the Commonwealth Munition factories (1939-41), worked as Camouflage Officer in Australia and with the RAAF in New Guinea (1941-43), until he was finally appointed an official war artist to record the nation's industrial war-time production (1943-45). More than 200 works are in the Australian War Memorial (AWM) collection' (Design & Art Australia Online).

An original drawing in black and red pencil, mounted and matted (visible image size 332 × 197 mm); in fine condition, signed and captioned in pencil along the bottom edge. The drawing features the central portion of the facade of Roseworthy Agricultural College Hall, 'the most impressive building on campus. It was built between 1883-1884 to a design by Edward J Woods, Chief Architect from the Department of Public Works, and constructed of Tarlee stone and red brick with freestone mouldings and brick quoins and chimneys. It cost £7,625 and contained accommodation for residential students, a lecture room, dining hall, reading room, staff room and offices. In front of the College Hall stands a bust of John Ridley (1806-1887), the man who invented the Ridley Stripper which was hugely important to the wheat industry. The bust was sculpted by Barsanti of Pisa, Italy' (Aussie Towns, online). Robert Emerson Curtis (1898-1996), English-born Australian artist, architectural draftsman, camouflage officer, and official war artist, emigrated to Queensland in 1914. In 1922 he 'travelled to the USA with his great friend, the pioneer filmmaker, Charles Chauvel. There he developed what was to become a lifelong interest in industrial modernism and on returning to Sydney in 1928 he set about documenting the construction of the Sydney Harbour Bridge. He painted murals and did industrial illustration in 1932-38, including the series "Australia at Work", which was syndicated in Australian newspapers. During WWII Curtis recorded working life in the Commonwealth Munition factories (1939-41), worked as Camouflage Officer in Australia and with the RAAF in New Guinea (1941-43), until he was finally appointed an official war artist to record the nation's industrial war-time production (1943-45). More than 200 works are in the Australian War Memorial (AWM) collection' (Design & Art Australia Online).

Condition: Fine. An original pencil drawing, mounted and matted (visible image size 290 × 190 mm), initialled, dated and captioned in pencil along the bottom edge. Both the drawing and mat are in fine condition. 'Château Tanunda, birthplace of the Barossa, was established in 1890 and is the site of some of the Valley's first vines planted as well as its first winery. The majestic bluestone winery and vineyards is a living testament to the colourful history and pioneering spirit of Australia's most famous wine region. Château Tanunda's origins go back to the decimation of Europe's vineyards by the phylloxera plague. Sensing opportunity, the founder's grand vision was to build a Château dedicated to crafting fine quality wines. Château Tanunda would become for a while the largest winery in the Southern Hemisphere. European immigrants had been planting vines in the Barossa since the 1840s, so the region was a natural choice. The resulting wines, made from grapes produced by 560 local growers . were shipped to a wine starved Europe. Château Tanunda's success was the Barossa's success. For years it was the heart of Barossa winemaking. A veritable "Ivy League" of Australian winemakers worked or studied at the facility, including Prof. Soebels, Australia's first qualified oenologist; Bill Seppelt; Grant Burge; Geoff Merrill and others. In 1994, in recognition of its rich history, Château Tanunda was placed on the Register of State Heritage Places - but by then its glory days were a memory. Abandoned by its then-owner, Australian wine giant Southcorp, the property was a shell of its former grandeur'. John Geber and his family purchased the property in 1998, and 'The rebirth of Château Tanunda is one of the most remarkable stories of the Australian wine industry' (Huon Hooke, quoted on the company's website). This drawing dates from its glory days . Robert Emerson Curtis (1898-1996), English-born Australian artist, architectural draftsman, camouflage officer, and official war artist, emigrated to Queensland in 1914. In 1922 he 'travelled to the USA with his great friend, the pioneer filmmaker, Charles Chauvel. There he developed what was to become a lifelong interest in industrial modernism and on returning to Sydney in 1928 he set about documenting the construction of the Sydney Harbour Bridge. He painted murals and did industrial illustration in 1932-38, including the series "Australia at Work", which was syndicated in Australian newspapers. During WWII Curtis recorded working life in the Commonwealth Munition factories (1939-41), worked as Camouflage Officer in Australia and with the RAAF in New Guinea (1941-43), until he was finally appointed an official war artist to record the nation's industrial war-time production (1943-45). More than 200 works are in the Australian War Memorial (AWM) collection' (Design & Art Australia Online).

Condition: Fine. An original pencil drawing, mounted and matted (visible image size 225 × 330 mm), signed and captioned in pencil in the bottom left-hand corner. The drawing is in fine condition; the mat is slightly bumped at one top corner. The scene depicted here shows iron ore from Iron Knob being loaded by conveyor belt onto a ship bound for the BHP steelworks in Newcastle. Robert Emerson Curtis (1898-1996), English-born Australian artist, architectural draftsman, camouflage officer, and official war artist, emigrated to Queensland in 1914. In 1922 he 'travelled to the USA with his great friend, the pioneer filmmaker, Charles Chauvel. There he developed what was to become a lifelong interest in industrial modernism and on returning to Sydney in 1928 he set about documenting the construction of the Sydney Harbour Bridge. He painted murals and did industrial illustration in 1932-38, including the series "Australia at Work", which was syndicated in Australian newspapers. During WWII Curtis recorded working life in the Commonwealth Munition factories (1939-41), worked as Camouflage Officer in Australia and with the RAAF in New Guinea (1941-43), until he was finally appointed an official war artist to record the nation's industrial war-time production (1943-45). More than 200 works are in the Australian War Memorial (AWM) collection' (Design & Art Australia Online).