Lot 5

TOM ROBERTS (1856-1931) Little Nell Simpson 1888 oil on canvas 34.9 x 29.8cm

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TOM ROBERTS (1856-1931) Little Nell Simpson 1888 oil on canvas 34.9 x 29.8cm

Estimate: A$50,000 - A$70,000

Starting Bid: A$50,000

(0 Bids)

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

Description:

TOM ROBERTS (1856-1931)
Little Nell Simpson 1888
oil on canvas
initialled and dated lower left: T.R 88
34.9 x 29.8cm

PROVENANCE:
The Collection of Mr. and Mrs. J. O. Wicking, Melbourne
Thence by descent
Private collection, Melbourne

EXHIBITIONS:
Early Australian Paintings, Old Coloured Prints, Fire Marks, Maps and Scrimshaw, Joshua McClelland Print Room, Melbourne, 23 July - 2 August 1968, cat. no. 2 (as 'Sweet Nell') (illus.)

LITERATURE:
Spate V., Tom Roberts, Lansdowne Press, 1972, Melbourne, cat. no. 37, p. 108 (illus.)
Topliss, H., Tom Roberts 1856–1931: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol. II, cat. no. 113, pl. 51 (illus.)

OTHER NOTES:
We are grateful to Julie Cotter for her assistance with cataloguing this painting.

RELATED WORK:
Tom Roberts, Miss Minna Simpson 1886, oil on canvas, 60.7 x 50.6cm, in the collection of the National Gallery Australia, Canberra

-Viewing in Sydney-

When Tom Roberts returned to Australia in 1885 from his studies at the Royal Academy in London, he was brimming with ideas and a passion to reconnect with Melbourne's artistic milieu. Alongside his desire to depict the true Australian landscape, he brought observations of British and European contemporary portraiture that ranged from much admired subjects set against darkened backgrounds to others wistfully immersed in a tonal symphony.

Roberts's portrait skills were immediately obvious to colleagues and critics alike and with his refined palette and ability to paint both the lustre of a face and imbue a work with the character of his subject, he set out to create a significant body of work. One of the first portraits he painted was of Minna Simpson ('Miss Minna Simpson', 1886, National Gallery of Australia), the niece of his friend and colleague, Lillie Williamson.

While it could be argued that Roberts was utilising his deft skill at portraiture to attract the attention of Lillie (it worked, and they married ten years later) Minna was a fine subject for an artist. Lace bonnet atop a determined face matched only by a hungry cat obediently clutched by Minna, Roberts found within Minna a modern child, the crease in the tablecloth symbolic of a world that was not perfect. (1) It is no wonder Roberts returned two years later to paint her older sister, Nell (Eleanor) Simpson.

The portrait of the eight-year-old Nell is a quieter, more reflective portrait. Roberts not only had the advantage of a longer association with the Simpson family but recognised within Nell the authority of the eldest child. Art historian Virginia Spate observed the influence of Whistler in Nell's portrait, particularly in the mastering of light and the luminosity of the subdued colours. (2)

For the portrait, Roberts chose a burnished olive background to craft a halo around Nell's face, the olive tones reflected in the beautifully painted lace collar. Roberts's backgrounds were not without their purpose and the sacred association of a golden halo may have resulted from discussions of faith during the portrait sittings. Yet it is to the intensity of Nell's liquid, steady eyes that the gaze of the viewer is drawn. Roberts's capacity to discern a maturity within the face of this child is captivating, Nell's directness and commitment to the task of creation of the portrait matching that of her younger sister.

In a review of the 1932 memorial exhibition to honour Roberts's lifetime of work, Blamire Young describes the portrait of Nell as demonstrating 'a deep insight into child life.' (3) Young discerns Roberts's delicacy in his painterly approach; 'Little Nell Simpson' along with 'Eileen' (1892, Art Gallery of New South Wales) and 'Penelope' (1919, National Gallery of Victoria) amongst the 100 pictures collected from across Australia and exhibited at the Fine Arts Society in Melbourne. Young notes the freshness of Roberts's pictures, no matter the age, a characteristic of his work that remains.

Lillie remained close to her nieces throughout her life, Minna travelling in Europe with Lillie in August 1913 while letters were sent to Nell detailing Lillie's frame making career. (4) In 1911 Nell had married the Reverend Canon Jeremiah Bridges, her wedding creating much interest in the press with Bishop Langley of Bendigo presiding. Minna also married into the church, her husband, the Reverend Frank Johnson sadly passing in 1916. Yet Minna studied to become a deaconess and was granted a licence to preach when few women were awarded such rights.

Nell died in 1939, and it is most likely that her portrait was passed to Minna at this time as a symbol of their childhood memories. Nell's portrait was eventually offered for sale in 1968 through Melbourne's Joshua McClelland Print Room under the title 'Sweet Nell' and promoted as a companion to 'Miss Minna Simpson'.

Dr Julie Cotter
Dr Julie Cotter is the author of three books, has worked as a lecturer and in public policy roles, written and presented documentaries, is widely published in a range of journals, magazines and catalogues and has been a member of many public art and grant committees. Her book, Tom Roberts and the Art of Portraiture (Thames & Hudson 2015), was shortlisted for the 2016 Prime Minister's Literary Award for nonfiction. Her most recent book is Portia Geach: Portrait of an Activist (Joyce Press 2024). It tells the story of the first Australian woman to be admitted to the Royal Academy of the Arts.

(1) Cotter, J., Tom Roberts and the Art of Portraiture, Port Melbourne, Thames & Hudson, 2015, p. 208.
(2) Spate, V., Tom Roberts, revised edition, East Melbourne, Lansdowne, 1978, p. 113.
(3) Young, B., 'Tom Roberts of Australia: Memorial Art Show,' Herald, 20 June 1932, p. 17.
(4) McQueen, H., Tom Roberts, Sydney, Pan MacMillan, 1996, p. 546.

  • Provenance: The Collection of Mr. and Mrs. J. O. Wicking, Melbourne
    Thence by descent
    Private collection, Melbourne
  • Dimensions: 34.9 x 29.8cm
  • Exhibited: Early Australian Paintings, Old Coloured Prints, Fire Marks, Maps and Scrimshaw, Joshua McClelland Print Room, Melbourne, 23 July - 2 August 1968, cat. no. 2 (as 'Sweet Nell') (illus.)
  • Literature: Spate V., Tom Roberts, Lansdowne Press, 1972, Melbourne, cat. no. 37, p. 108 (illus.)
    Topliss, H., Tom Roberts 1856–1931: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol. II, cat. no. 113, pl. 51 (illus.)
  • Medium: oil on canvas
  • Notes: We are grateful to Julie Cotter for her assistance with cataloguing this painting.

    RELATED WORK:
    Tom Roberts, Miss Minna Simpson 1886, oil on canvas, 60.7 x 50.6cm, in the collection of the National Gallery Australia, Canberra

    -Viewing in Sydney-

    When Tom Roberts returned to Australia in 1885 from his studies at the Royal Academy in London, he was brimming with ideas and a passion to reconnect with Melbourne's artistic milieu. Alongside his desire to depict the true Australian landscape, he brought observations of British and European contemporary portraiture that ranged from much admired subjects set against darkened backgrounds to others wistfully immersed in a tonal symphony.

    Roberts's portrait skills were immediately obvious to colleagues and critics alike and with his refined palette and ability to paint both the lustre of a face and imbue a work with the character of his subject, he set out to create a significant body of work. One of the first portraits he painted was of Minna Simpson ('Miss Minna Simpson', 1886, National Gallery of Australia), the niece of his friend and colleague, Lillie Williamson.

    While it could be argued that Roberts was utilising his deft skill at portraiture to attract the attention of Lillie (it worked, and they married ten years later) Minna was a fine subject for an artist. Lace bonnet atop a determined face matched only by a hungry cat obediently clutched by Minna, Roberts found within Minna a modern child, the crease in the tablecloth symbolic of a world that was not perfect. (1) It is no wonder Roberts returned two years later to paint her older sister, Nell (Eleanor) Simpson.

    The portrait of the eight-year-old Nell is a quieter, more reflective portrait. Roberts not only had the advantage of a longer association with the Simpson family but recognised within Nell the authority of the eldest child. Art historian Virginia Spate observed the influence of Whistler in Nell's portrait, particularly in the mastering of light and the luminosity of the subdued colours. (2)

    For the portrait, Roberts chose a burnished olive background to craft a halo around Nell's face, the olive tones reflected in the beautifully painted lace collar. Roberts's backgrounds were not without their purpose and the sacred association of a golden halo may have resulted from discussions of faith during the portrait sittings. Yet it is to the intensity of Nell's liquid, steady eyes that the gaze of the viewer is drawn. Roberts's capacity to discern a maturity within the face of this child is captivating, Nell's directness and commitment to the task of creation of the portrait matching that of her younger sister.

    In a review of the 1932 memorial exhibition to honour Roberts's lifetime of work, Blamire Young describes the portrait of Nell as demonstrating 'a deep insight into child life.' (3) Young discerns Roberts's delicacy in his painterly approach; 'Little Nell Simpson' along with 'Eileen' (1892, Art Gallery of New South Wales) and 'Penelope' (1919, National Gallery of Victoria) amongst the 100 pictures collected from across Australia and exhibited at the Fine Arts Society in Melbourne. Young notes the freshness of Roberts's pictures, no matter the age, a characteristic of his work that remains.

    Lillie remained close to her nieces throughout her life, Minna travelling in Europe with Lillie in August 1913 while letters were sent to Nell detailing Lillie's frame making career. (4) In 1911 Nell had married the Reverend Canon Jeremiah Bridges, her wedding creating much interest in the press with Bishop Langley of Bendigo presiding. Minna also married into the church, her husband, the Reverend Frank Johnson sadly passing in 1916. Yet Minna studied to become a deaconess and was granted a licence to preach when few women were awarded such rights.

    Nell died in 1939, and it is most likely that her portrait was passed to Minna at this time as a symbol of their childhood memories. Nell's portrait was eventually offered for sale in 1968 through Melbourne's Joshua McClelland Print Room under the title 'Sweet Nell' and promoted as a companion to 'Miss Minna Simpson'.

    Dr Julie Cotter
    Dr Julie Cotter is the author of three books, has worked as a lecturer and in public policy roles, written and presented documentaries, is widely published in a range of journals, magazines and catalogues and has been a member of many public art and grant committees. Her book, Tom Roberts and the Art of Portraiture (Thames & Hudson 2015), was shortlisted for the 2016 Prime Minister's Literary Award for nonfiction. Her most recent book is Portia Geach: Portrait of an Activist (Joyce Press 2024). It tells the story of the first Australian woman to be admitted to the Royal Academy of the Arts.

    (1) Cotter, J., Tom Roberts and the Art of Portraiture, Port Melbourne, Thames & Hudson, 2015, p. 208.
    (2) Spate, V., Tom Roberts, revised edition, East Melbourne, Lansdowne, 1978, p. 113.
    (3) Young, B., 'Tom Roberts of Australia: Memorial Art Show,' Herald, 20 June 1932, p. 17.
    (4) McQueen, H., Tom Roberts, Sydney, Pan MacMillan, 1996, p. 546.

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