Deutscher and Hackett

Although de Maistre would make his mark in Australian art through the development of an individual style of modernism which related colour and music to create a form of stylised, decorative cubism, the present composition, with its framed view of Fort Denison, is reminiscent of the German Romantic device of Rückenfigur (but in this instance, without the figure). The viewer is firmly placed on the verandah looking towards the harbour which notably features no hint of the active construction of the Sydney Harbour Bridge that had inspired fellow modernists such as Grace Cossington Smith and was potentially visible with a short turn to the right. Bereft of any harbour activity at all, the scene has instead been presented as quiet and timeless. 
 
After returning to Australia in 1926 following two years in Europe, de Maistre’s work followed a more realistic style than his earlier adventurous experiments. He supported his practice by cultivating patrons, exhibiting and selling works through solo exhibitions (namely at Macquarie Galleries, Sydney in 1926 and 1928), engaging in decorative work, and giving occasional talks.  
 
Enthusiastic among his patrons were English-born Sir Dudley de Chair, a former naval admiral and governor of New South Wales from 1924 to 1930, and his wife, Lady Enid de Chair who was a very active supporter of the arts during her time in Australia – not only in her official capacity, but also from personal interest. Accordingly, De Maistre painted several works of Government House and garden, and a portrait of Sir Dudley de Chair which he entered in the Archibald Prize in 1929 (presently hanging in Government House, Sydney). It is assumed that it was through the connection with the de Chairs that the artist gained entry to Admiralty House which, in 1929, was subject to some controversy. In June, the Sydney Morning Herald reported a visit of the Attorney General, Mr Latham, on behalf of the Commonwealth Government ‘to enquire into the ownership of Admiralty House, the Sydney home of the Governor General (Lord Stonehaven)’ which, the report continued, ‘was being claimed by New South Wales following a similar successful claim to Garden Island’2.1 One year later, in 1930, due to the depression, Admiralty House was closed and its contents sold at auction, with the Governor General transferring his residence to Yarralumla in Canberra. Admiralty House passed to the Commonwealth and was reopened and redesignated an official residence in 1948. 
 
By contrast to an earlier undated painting, Government House (private collection), where the building is presented almost as a medieval castle shrouded by trees2, and his other depictions of friends’ homes (largely around Palm Beach) undertaken at this time, the present composition is intimate and homely, defying the building’s colonial grandeur. The patches of pale sky and sea, and the faint gold of the light are enhanced by both the dark green of the plants and verandah, and the contrasting reddish-pink tones of Fort Denison and the background buildings. The scene evokes a reflected Australian sunset. Significantly, De Maistre himself departed the country in 1930, never to return, and thus, the painting may encapsulate a final glimpse of Sydney Harbour – perhaps emphasising the artist’s departure for a more desirable future in England.  
 
Accompanying him upon his departure abroad and signed sometime later (de Maistre used the spelling ‘de Mestre’ until 1930), View of Sydney Harbour from Admiralty House to Fort Dennison has never, as far as can be ascertained, been exhibited before and importantly represents a unique subject in the artist’s oeuvre.  
 
1. Sydney Morning Herald, Sydney, 29 June 1929, p. 14
2. See Bonham’s, Australian Art, Sydney, 22 August 2024, lot 13

HEATHER JOHNSON