Lot 8

CLARICE BECKETT (1887-1935) (Mentone Cliffs) c.1932 oil on board 44.5 x 54cm

Previous image preload Next image preload

CLARICE BECKETT (1887-1935) (Mentone Cliffs) c.1932 oil on board 44.5 x 54cm

Estimate: A$80,000 - A$100,000

Starting Bid: A$80,000

(0 Bids)

June 30, 2026 6:00 PM AEST
Live Auction
Hawthorn, Australia

Description:

CLARICE BECKETT (1887-1935)
(Mentone Cliffs) c.1932
oil on board
signed lower left: C. Beckett
44.5 x 54cm

PROVENANCE:
The Collection of Benjamin Dunbar Ratcliff
Thence by descent
The Collection of Howard Dunbar Ratcliff
Thence by descent
The Collection of Pauline Cecilia Parkinson (1928-2025)
Thence by descent
Private collection, Melbourne

EXHIBITIONS:
(possibly) Twenty Melbourne Painters, Fourteenth Annual Exhibition, 1932, cat. no. 15 (as 'Mentone Cliffs') 12 guineas

OTHER NOTES:
We are grateful to Dr Rosalind Hollinrake for her assistance with cataloguing this painting.

RELATED WORKS:
Clarice Beckett, Beaumaris Seascape c.1925, oil on board, 50 x 49cm, in the collection of the National Gallery Victoria, Melbourne
(McCaughey P., Strange Country: Why Australian Art Matters, The Miegunyah Press, 2014, p. 137 (illus.))

Clarice Beckett, Smoke Haze Beaumaris 1926, oil on board, 49 x 53cm, private collection
(Hollinrake R., Clarice Beckett: The Artist and her Circle, Macmillan Publishing, 1979, cat. no. 20, p. 54 (illus.))

Clarice Beckett, Beaumaris Seascape c.1931, oil on canvas on board, 50 x 54cm, private collection
(Hollinrake R., Clarice Beckett: The Artist and her Circle, Macmillan Publishing, 1979, cat. no. 21, p. 55 (illus.))

-Viewing in Sydney-

The first owner of this rare Clarice Beckett painting, '(Mentone Cliffs)' c.1932, was Benjamin Ratcliff (1868-1956). Until now it has remained within his family, unseen by the public for 94 years. An astute businessman with a chain of grocery stores across Melbourne suburbs, by 1916 Ratcliff had become Max Meldrum's major patron, financing the book 'Max Meldrum: His Art and Views', edited by Colin Colahan and published by Alexander McCubbin in 1919.

Clarice Beckett met Benjamin Ratcliff in Meldrum's studio in 1917, where she took her first professional lessons in oil painting. On the completion of the requisite three year drawing class under Frederick McCubbin at the National Gallery school, she then declined the coveted offer of a fourth year study in oil painting with the director Bernard Hall, after hearing Meldrum's inspirational lecture on how to paint using his newly created tonal methodology. For Beckett, joining Meldrum was a daring decision, since he was already creating significant controversy in Melbourne's traditional art scene due to his argumentative nature and his unshakable belief in his own theories.

Ratcliff was to become her first significant patron, having purchased a small, evocative, seminal work 'Grey Day' c.1919, and by 1932 had amassed 25 more of her works. Her peer, Colin Colahan, who had returned to Melbourne after some years of living in Paris, wrote, "... we found ourselves invited to a 'musical' evening at Ratcliff's... Complete astonishment!!! All the Meldrum's were gone and the house now full of Clarice Becketts..." (1)

William Rowe was another major patron who eventually owned 35 Beckett paintings: two male patrons was remarkable given the rampant misogyny of the time. Her yearly professional exhibitions held from 1923 to 1933 often received disparaging reviews from critics, themselves artists, who claimed women were second class painters to males. Yet she also had her admirers who recognised her work was unique.

Working as a plein air painter, she sought to express her own creative spiritual response to the fleeting impermanence of material life and the natural world. In those fleeting, transient moments, she saw sheer beauty in all things and expressed that sensation as honestly as paint could achieve. In doing so she created a new way of depicting the Australian landscape that at the time defied description. In 1931, writer, Mervyn Skipper, recognised her work as genuinely unique and ahead of its time:
"Clarice Beckett... has become the most original painter in Australia by means which seems absurdly simple - at least on paper. She has merely abandoned conventions which earlier artists brought from Europe, and from which their successors have not quite emancipated themselves'.... Out of that innocence, apparently comes the uniqueness of her patterns and the unexpectedness of her color harmonies... the strength, firmness and singing quality of her work grow more apparent the longer you look at it. It is only sincere art that can give this reaction. Artificiality never leaves an enduring impression, however sensational the first impact." (2)

Her subject matter was of Melbourne city, country Victoria and the Bayside suburbs, capturing the atmospheric liminal effects of dusk and dawn, sunrise and sunset, fog and rain, in all seasons. However, Beaumaris and Beckett are synonymous. Some of her most treasured painting haunts were along the tops of the perilously high cliffs that formed the fretted coastline of tiny secret inlets and beaches around Beaumaris Bay.

Beckett's painting '(Mentone Cliffs)' is a classic example of her deep understanding and connection to this beloved location. Here the famed chalk cliffs depicted in Tom Robert's 'Slumbering Sea (Mentone)' 1887 (NGV) are now painted by Beckett 45 years later, not as picturesque but rather as a felt experience. The cool, high-keyed light and the atmospheric sense of airy space and freedom captured by the speed of her brushstroke is at the heartbeat of the work. Looking down and across a wide expanse of luminous, calm sea, three small boats circle close to Keefer's boat hire, with its white roofed shed and the faint markings of the extended Beaumaris Sea Baths. The breeze filling the sails of the tiny yacht is a small but brilliant accent that ultimately brings the composition to a harmonious whole.

"Though I had biked, hiked and motored along Beach Road around Beaumaris Bay a hundred or more times...I did not fully recognise the beauty of the place till I looked in at...Beckett's exhibition of oil paintings... [She] has caught cliff and water in all moods of light and weather and season, revealing that there is not one Beaumaris Bay, but a score." (3)

Dr Rosalind Hollinrake
Rosalind Hollinrake is an Australian art historian, curator and the foremost authority on Clarice Beckett, whose decades of research and advocacy were instrumental in establishing Beckett's place within Australian art history. Since the 1970s, Hollinrake has rescued, documented and curated Beckett's works extensively, playing a pivotal role in the recognition of one of Australia's most important modernist painters.

(1) A letter from Colin Colahan to Rosalind Hollinrake August 1976.
(2) Skipper, M., 'The Palette', The Bulletin, 29 October 1931, p. 33.
(3) 'In Town and Out,' Herald, Melbourne, 19 October 1932, p.8.

  • Provenance: The Collection of Benjamin Dunbar Ratcliff
    Thence by descent
    The Collection of Howard Dunbar Ratcliff
    Thence by descent
    The Collection of Pauline Cecilia Parkinson (1928-2025)
    Thence by descent
    Private collection, Melbourne
  • Dimensions: 44.5 x 54cm
  • Exhibited: (possibly) Twenty Melbourne Painters, Fourteenth Annual Exhibition, 1932, cat. no. 15 (as 'Mentone Cliffs') 12 guineas
  • Medium: oil on board
  • Notes: We are grateful to Dr Rosalind Hollinrake for her assistance with cataloguing this painting.

    RELATED WORKS:
    Clarice Beckett, Beaumaris Seascape c.1925, oil on board, 50 x 49cm, in the collection of the National Gallery Victoria, Melbourne
    (McCaughey P., Strange Country: Why Australian Art Matters, The Miegunyah Press, 2014, p. 137 (illus.))

    Clarice Beckett, Smoke Haze Beaumaris 1926, oil on board, 49 x 53cm, private collection
    (Hollinrake R., Clarice Beckett: The Artist and her Circle, Macmillan Publishing, 1979, cat. no. 20, p. 54 (illus.))

    Clarice Beckett, Beaumaris Seascape c.1931, oil on canvas on board, 50 x 54cm, private collection
    (Hollinrake R., Clarice Beckett: The Artist and her Circle, Macmillan Publishing, 1979, cat. no. 21, p. 55 (illus.))

    -Viewing in Sydney-

    The first owner of this rare Clarice Beckett painting, '(Mentone Cliffs)' c.1932, was Benjamin Ratcliff (1868-1956). Until now it has remained within his family, unseen by the public for 94 years. An astute businessman with a chain of grocery stores across Melbourne suburbs, by 1916 Ratcliff had become Max Meldrum's major patron, financing the book 'Max Meldrum: His Art and Views', edited by Colin Colahan and published by Alexander McCubbin in 1919.

    Clarice Beckett met Benjamin Ratcliff in Meldrum's studio in 1917, where she took her first professional lessons in oil painting. On the completion of the requisite three year drawing class under Frederick McCubbin at the National Gallery school, she then declined the coveted offer of a fourth year study in oil painting with the director Bernard Hall, after hearing Meldrum's inspirational lecture on how to paint using his newly created tonal methodology. For Beckett, joining Meldrum was a daring decision, since he was already creating significant controversy in Melbourne's traditional art scene due to his argumentative nature and his unshakable belief in his own theories.

    Ratcliff was to become her first significant patron, having purchased a small, evocative, seminal work 'Grey Day' c.1919, and by 1932 had amassed 25 more of her works. Her peer, Colin Colahan, who had returned to Melbourne after some years of living in Paris, wrote, "... we found ourselves invited to a 'musical' evening at Ratcliff's... Complete astonishment!!! All the Meldrum's were gone and the house now full of Clarice Becketts..." (1)

    William Rowe was another major patron who eventually owned 35 Beckett paintings: two male patrons was remarkable given the rampant misogyny of the time. Her yearly professional exhibitions held from 1923 to 1933 often received disparaging reviews from critics, themselves artists, who claimed women were second class painters to males. Yet she also had her admirers who recognised her work was unique.

    Working as a plein air painter, she sought to express her own creative spiritual response to the fleeting impermanence of material life and the natural world. In those fleeting, transient moments, she saw sheer beauty in all things and expressed that sensation as honestly as paint could achieve. In doing so she created a new way of depicting the Australian landscape that at the time defied description. In 1931, writer, Mervyn Skipper, recognised her work as genuinely unique and ahead of its time:
    "Clarice Beckett... has become the most original painter in Australia by means which seems absurdly simple - at least on paper. She has merely abandoned conventions which earlier artists brought from Europe, and from which their successors have not quite emancipated themselves'.... Out of that innocence, apparently comes the uniqueness of her patterns and the unexpectedness of her color harmonies... the strength, firmness and singing quality of her work grow more apparent the longer you look at it. It is only sincere art that can give this reaction. Artificiality never leaves an enduring impression, however sensational the first impact." (2)

    Her subject matter was of Melbourne city, country Victoria and the Bayside suburbs, capturing the atmospheric liminal effects of dusk and dawn, sunrise and sunset, fog and rain, in all seasons. However, Beaumaris and Beckett are synonymous. Some of her most treasured painting haunts were along the tops of the perilously high cliffs that formed the fretted coastline of tiny secret inlets and beaches around Beaumaris Bay.

    Beckett's painting '(Mentone Cliffs)' is a classic example of her deep understanding and connection to this beloved location. Here the famed chalk cliffs depicted in Tom Robert's 'Slumbering Sea (Mentone)' 1887 (NGV) are now painted by Beckett 45 years later, not as picturesque but rather as a felt experience. The cool, high-keyed light and the atmospheric sense of airy space and freedom captured by the speed of her brushstroke is at the heartbeat of the work. Looking down and across a wide expanse of luminous, calm sea, three small boats circle close to Keefer's boat hire, with its white roofed shed and the faint markings of the extended Beaumaris Sea Baths. The breeze filling the sails of the tiny yacht is a small but brilliant accent that ultimately brings the composition to a harmonious whole.

    "Though I had biked, hiked and motored along Beach Road around Beaumaris Bay a hundred or more times...I did not fully recognise the beauty of the place till I looked in at...Beckett's exhibition of oil paintings... [She] has caught cliff and water in all moods of light and weather and season, revealing that there is not one Beaumaris Bay, but a score." (3)

    Dr Rosalind Hollinrake
    Rosalind Hollinrake is an Australian art historian, curator and the foremost authority on Clarice Beckett, whose decades of research and advocacy were instrumental in establishing Beckett's place within Australian art history. Since the 1970s, Hollinrake has rescued, documented and curated Beckett's works extensively, playing a pivotal role in the recognition of one of Australia's most important modernist painters.

    (1) A letter from Colin Colahan to Rosalind Hollinrake August 1976.
    (2) Skipper, M., 'The Palette', The Bulletin, 29 October 1931, p. 33.
    (3) 'In Town and Out,' Herald, Melbourne, 19 October 1932, p.8.

Accepted Forms of Payment:

American Express, MasterCard, Visa

Shipping

For selected auctions, Leonard Joel offers a delivery service to Melbourne suburbs, please visit www.leonardjoel.com.au for details. Please note this service is not available for Sydney auction purchases.

Leonard Joel

You agree to pay a buyer's premium of 25% and any applicable taxes and shipping.

View full terms and conditions

Bid Increments
From: To: Increments:
A$0 A$99 A$50
A$100 A$499 A$50
A$500 A$999 A$50
A$1,000 A$1,999 A$100
A$2,000 A$4,999 A$200
A$5,000 A$9,999 A$500
A$10,000 A$19,999 A$1,000
A$20,000 A$49,999 A$2,000
A$50,000 A$99,999 A$5,000
A$100,000 + A$10,000