Collection Online
Medium
bromoil print
Measurements
(31.1 × 35.5 cm) (image)
Place/s of Execution
Victoria
Inscription
inscribed in pencil on mount l.l.: Market Cart
inscribed in pencil on mount l.r.: Wm Thos. Owen FRPS (en FRPS underlined)
inscribed in ballpoint pen on support reverse u.l.: 33
inscribed in pencil on support reverse u.c.: WILLIAM T. OWEN FRPS / 466 BURKE RD. / S. CAMBERWELL / MELBOURNE
inscribed in pencil and ballpoint pen on support reverse c.l.: "MARKET CART" / No 2 (crossed out) / Bromoil
inscribed in pencil on support reverse c.r.: Oil
inscribed in blue ballpoint pen and pencil on support reverse l.l.: C/O Dr L. A. Love
inscribed in ballpoint pen on support reverse l.l.: Bromoil (underlined) / 1936
inscribed on adhesive label: VICTORIAN / SALON OF / PHOTOGRAPHY / This print was Accepted / and Hung at the / Victorian Salon of / Photography, 1937 / (Australia)
inscribed in adhesive label u.l.: EXHIBITED BY / WESTERN / UNION / CAMERA / CLUB / 60 HUDSON ST. / NEW YORK. N.Y. INTERNATIONAL SALON OF PHOTOGRAPHY / ACCEPTED AND HUNG / AT THE NEW ZEALAND / CENTENIAL EXHIBITION / INTERNATIONAL SALON / OF PHOTOGRAPHY / 31st JANUARY TO / 28th FEBRUARY 1940
EXHIBITED AT / THE CAMERA CLUB / NEW YORK / THE CAMERA CLUB / OF NEW YORK / 121 EWST 68th STREET / NEW YORK CITY / NOV -1950
inscribed on adhesive label l.l.: THIS PRINT WAS EXHIBITED AT / TEANECK / camera / Club / TEANECK. NEW JERSEY Exhibited by / Staten Island / Camera Club of N.J. Exhibited / 543 West 21sth St. / MEMBER OF METROPOLITAN CAMERA COUNCIL / New York City / Dyckman / Camera Club / Date ______
inscribed on adhesive label l.c.: Exhibited at / THE EQUITABLE LIFE / CAMERA CLUB / New York City / Room for Lunching-Lounge / Feb. 12th to 16th Inclusive
Accession Number
PH207-1971
Department
Australian Photography
Credit Line
National Gallery of Victoria, Melbourne
Gift of C. Stuart Tompkins, 1971
Gallery location
Not on display
About
Joos van Craesbeeck was the only known pupil of the Flemish genre painter Adriaen Brouwer and became a leading painter known for his quirky, often macabre, sense of humour. This homely scene reflects his characteristically wry view of mortality. A skeleton creeps up on an elderly woman, who is surrounded by familiar symbols of death. Outside, a second skeleton takes possession of a coffin in a churchyard. Behind the woman a message warns the viewer that ‘No bird, flesh or fish has ever dodged it, they don’t miss shooting’. A second inscription states: ‘My body is/has been preserved; I know not where my soul dwells’.