DETAIL : George LAMBERT  Russia 1873 � Australia 1930  'Chesham Street' [Chesney Street; The Doctor; Harley Street] 1910  oil on canvas National Gallery of Australia, Canberra, purchased in 1993 DETAIL : George LAMBERT  Russia 1873 � Australia 1930  'The convex mirror' c.1916  oil with pencil on wood panel private collection
George LAMBERT | Study for the Desert Mounted Corps memorial

Russia 1873 – Australia 1930
Australia 1887-1900; England 1900-01; France 1901-02; England 1902-21; Australia from 1921
Study for the Desert Mounted Corps memorial
[Sketch of portion of model for 'Light Horse memorial group']
pencil with brush and grey wash
irregular 50.4 (h) x 60.9 (w) cm
sight 46.8 (h) x 51.7 (w) cm
signed and dated 'GWLambert -1926 -/ ARA' lower right
National Gallery of Victoria, Melbourne, purchased under the Felton Bequest in 1930
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This drawing is related to Lambert’s first sculpture, The Anzacs (Maquette for Desert Mounted Corps memorial competition) 1919–35 (cat.105). Lambert’s submission, portraying the Anzac troops and horses in action in Sinai and Palestine, was rejected  by the assessors for the memorial group because it would have been too expensive to cast full size. The competition was for a memorial to be erected in Egypt, at Port  Said, and was won in 1923 by Web Gilbert. It was recommended that the Australian War Memorial acquire the model that Lambert had submitted for the competition. During 1926, the Memorial debated whether the sculpture was appropriate for its collection because of its symbolical, and possibly controversial, nature. It was eventually purchased and cast in plaster in 1928, and in bronze in 1932. This drawing may have been made by Lambert during these discussions to encourage the Memorial to purchase the work. It shows a portion of the work viewed from behind, with the rearing horse at the back of the group, and the man falling backwards off this horse.

Lambert used his pencil, together with grey washes, to create a dramatic view of the sculpture. He used tone to give the image a strong three-dimensional quality, and added brief, quick linear flourishes to convey the unfinished aspect of the image, but also to create a sense of movement. He attached sufficient significance to the drawing to sign it and add ‘ARA’ to the signature.

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