The original section of the house (Allawah) was built as a weekender in 1924 by William Dobell's father, Robert. William Dobell, a trained architect, designed the building and his brother helped their father construct it. Due to limited overland access, the majority of building materials was transported to the site by boat. Gravel from the lakeshore was used in the concrete mix. William Dobell purchased the house from his father's estate in 1942 and lived in the house until his death in 1970.[1]
William Dobell was born in Newcastle in 1899, and studied technical drawing in Newcastle before being articled to an architect in 1916. He moved to Sydney in 1929, where he studied art, attending evening classes. That year he won the Artists Travelling Scholarship and went to England and Europe for further study, returning to Australia in 1938. Dobell worked as a war artist for the Australian Government during World War II. A portrait, Mr Joshua Smith, of Joshua Smith, a colleague with whom he shared a tent during the war, was entered in the Archibald Prize, winning in 1943. It was a controversial result. Two artists from Victoria took legal action against Dobell and the Art Gallery of New South Wales, claiming that the painting was a caricature and not within the traditional guidelines of the competition.[1]
The final Supreme Court finding was in the artist's favour,[2] but the lengthy proceedings had an effect on Dobell's health, and he retired to Wangi Wangi (commonly called Wangi) to recuperate. He kept a flat at Kings Cross until around 1950, and at this time the house at Wangi became his permanent home. Dobell began painting again at Wangi, and as he preferred to paint in privacy he added a second storey studio to the house, in 1946. This kept his working environment separate from visitors, whose numbers increased as he became more famous.[1]
From around 1950, until his death in 1970, Dobell painted entirely at his home in Wangi. Making sketches and photographing the people or scenes he wished to paint, he returned to his studio to do the painting. Dobell painted landscape scenes of Wangi, which include The Westerly Breeze, The Narrows Beach and Storm Approaching Wangi (1948). The latter was of a view from the patio of his house, across the water of Lake Macquarie, and won the Wynne prize for landscape in 1948. The artist won two further Archibald Prizes in 1948 and 1959, one with a portrait of fellow artist, Margaret Olley, and the other with a painting of his surgeon, Dr McMahon. He also painted two works for Prince Phillip's Royal Collection. Dobell received a Knighthood in 1966.[1]
Although he had plans for further additions, Dobell had done little to maintain the house and at the time of his death it was in a poor state of repair.
"He used the crowded studio to store his paintings and only painted in his living room, near his front door. Lighting was poor and the facilities were minimal reflecting the simple life that its occupants had preferred. There were few power outlets although the house did have a wall air conditioner in the southern sunroom and strip heaters in the living areas and bathroom. There was no insulation and large areas of glass resulted in extremes of heat and cold across the seasons. The timber floors were bare boards with a few carpet pieces, or covered with degraded vinyl-asbestos tiles."
—Elizabeth Donaldson and Robert Donaldson, William Dobell, His Life, Art and Home. 2011, p122.[1]
Dobell had been popular with the local community while living at Wangi, and had involved himself in community activities. After his death in 1970, members of the Wangi community formed the "Sir William Dobell Memorial Committee", and raised the money necessary to purchase Dobell's house, which has been open to the public since 1971 as a house museum.[1]
Description
Dobell House is an eclectic building with a series of additions to the original two-room holiday house. The primary facade is oriented north to take advantage of views to Lake Macquarie. The rear of the house and garage address Dobell Road.[1]
The original portion of the house (Allawah) was a vernacular bungalow with Federation/Interwar stylistic features. A prominent gable with decorative frieze was supported on bracketed, dwarf posts, in turn resting on masonry verandahpiers. A low, masonry wall extended between verandah piers. All walls were finished with a roughcast render. The gable and verandah remain as the most recognisable features of the early building. The gable end is filled with profiled metal sheeting, which replaced the earlier battened sheeting.[1]
The walls of the original bungalow are interesting as an early use of slipform (jump-form) concrete. thirty centimetres (twelve inches) boards were used as formwork, taken apart when the concrete had set, and reassembled at the next level. Evidence of this construction technique is now covered up, however it was noted and recorded during installation of a chemical damp-proof course, by architect Robert Donaldson in 2003–4. Shell, seaweed and fishbones were found in the concrete walls confirming that sand and gravel from lakeshore was used in the construction.[1]
The additions at the rear (south) comprise the 1930s ground floor living area with kitchen and the 1946 second storey studio space. The ground storey is constructed of rendered brickwork and it is likely that it was built by Robert Dobell and his sons. The studio is timber-framed and clad in asbestos-cement sheet. The structure of the fireplace rising from the ground floor allowed a fireplace to be added to the studio level . The studio has a collection of windows of differing shapes and sizes that were designed to allow the amount and type of light Dobell needed for his painting: a large, aluminium sliding sash window facing south; a strip of fixed glazing on the east wall, located below eye level at desk height; corner pair of timber, sliding sash windows on southeast corner; two small, top-hinged casement windows to the north.[1]
The existing pitched roof of the studio, clad in corrugated steel, was installed c 1958, replacing the original flat roof with parapets. The gable ends are filled with horizontal boarding and the street-facing gable is decorated with a carved timber embellishment that seems out of place with the otherwise austere lines of the studio.[1]
The western addition of 1952, is timber-framed and lined with asbestos-cement sheeting and contained sister Alice's bedroom, a bathroom and kitchen. Interesting features of the western addition are the 1950s fitout of the bathroom and kitchen.[1]
The garage incorporates a 1960s metal carport that was, soon after, enclosed with timber-framing and profiled fibro sheeting. The roof is clad in corrugated iron.[1]
The garden contains a number of mature trees, including a prominent Jacaranda. The southern garden includes plant material that Dobell brought back from New Guinea in 1947. These are now substantial trees and include an Irish Strawberry Tree, Guava, Feijoa and a number of Frangipani.[1]
Rendered brick retaining walls surround the property on three sides, with four different types of railings and balustrades used. The rendered walls and railings have all been introduced since the 1950s, replacing the original timber picket fence that is extant in photographs from the 1950s.[1]
The plain white colour scheme of the house/studio, garage and boundary walls serves to unify the somewhat incongruous forms, materials and details of the whole ensemble.[1]
The contents of the house were removed at the time of Dobell's death but many items have since been returned. They include various cane chairs and table, a cane peacock chair and various brass and wooden items. The studio houses several of Dobell's easels, bed, paint boxes, tubes and brushes, secretaire and other paraphernalia. Other items in the house include Dobell's Brinsmead grand piano, his photographic equipment, household items such as china and glassware, personal effects and memorabilia. There is also a small collection of original Dobell works: sketches, studies, Christmas cards and cartoons drawn for friends. The Dobell House Archive, housed in the garage serving as committee office, includes reference material such as books, articles, photographs, scrapbooks kept by relatives, colour slides and film.[1]
The door between Alice's bedroom and the adjoining bathroom was decorated by Dobell with a number of randomly arranged small paintings: a rose, pansy, butterflies, pomegranates. The lack of cohesion of the separate paintings on the door reflects the disjointed quality in the design of the building additions. This is unlike the composition and balance evident in Dobell's portraits and landscape.[1]
Condition
As at 12 January 2016, the house appears to be structurally sound and watertight. The quality of the construction is variable, the earlier fabric appearing to be of a better quality of construction than the later fabric. Some of the later works carried out during Dobell's ownership are of inferior quality and have a somewhat haphazard appearance in the way the materials are put together. There is potential in these areas for the fabric to fail.[1]
At the time of his death, Dobell had done little to maintain the house and it was in a poor state of repair. Extensive repairs and reconstruction have been carried out since 1970 by the Sir William Dobell Memorial Committee, primarily to waterproof the building and replace damaged elements. The simple and well-worn quality of the interiors has been retained.[1]
Modifications and dates
1930s–southern addition including kitchen.
1946–second storey studio addition.
1960s–western addition.
c.1958–flat roof with bituminous membrane replaced with pitched roof clad in corrugated steel; timber fencing replaced by rendered, masonry walls.
1960s western addition.
c.1965–earlier steel-framed carport structure was converted to a garage, incorporating a laundry space. A southern balcony was added to the studio.
1971-2–internal stair to studio replaced; electrical wiring and guttering renewed; and the house repainted.
1999–studio roof replaced.
2000–re-roofing of the house and garage; waterproofing and re-tiling of the studio balcony.
2003-4–chemical damp-proofing of the 1925 walls. Replacement of northern boundary wall, northern pergola and western Fernery structure.
As at 11 July 2016, Dobell House is of state significance for its strong association with prominent Australian artist William Dobell and his work. As well as being Dobell's home from 1942 to 1970, it was also the place where he painted numerous works including Storm Approaching Wangi,[3]Dr McMahon[4] and series of portraits of cosmetician Helena Rubenstein.[1]
Dobell House is significant as the centre of the artist's creative work, as he rarely painted away from his home. From 1950 until his death, virtually all his paintings were made here. The house, studio and garden frame the views that inspired his landscape paintings. Views from the place appear as the subject or background in paintings, including, The Westerly Breeze (1948), Wynne prize-winning Storm Approaching Wangi (1948) and Wangi Scene (1949). Elements of the building and its contents, such as the verandah and the cane furniture, also appear in his paintings. Much of Dobell's furniture, which reflects his travels and his work as a painter, remains in the house.[1]
Dobell House is further associated with the artist, having been designed by Dobell, originally as a two-room weekender, then modified by him, through the series of additions which included the second-storey studio.[1]
The residence, studio and garden are a unique record of Dobell's painting environment and lifestyle. The place has the potential to shed light on the person of William Dobell and the nature of his artistic talent. The place is of state significance for its potential to yield further information about one of the greatest Australian portrait artists of the twentieth century.[1]
The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
Dobell House and studio is of state significance for its strong association with seminal Australian artist William Dobell. The house was Dobell's home and studio from 1942 to 1970. It was where he produced his later works, including Storm Approaching Wangi, 1948 (Wynne Prize for Landscape); Dr E. G. McMahon, 1959 (Archibald Prize), and the series of portraits of cosmetician, Helena Rubenstein.[1]
Dobell used two studios for a period of time, Dobell House and the Kings Cross flat but he surrendered the lease to the Sydney flat in 1950 and from that time Wangi became his permanent address. The flat has been remodelled by later occupants, leaving Dobell House as the only studio that remains in much the same form as when last used by the artist.[1]
The artist's reluctance to paint in public meant that his home was the centre of his creative work. During an interview with Garth Nettheim[5] Dobell said, "I've never been able to go out and paint. I've never liked drawing or painting in public. I can't bring myself to do that. So anything that I've done in the way of landscapes has been from memory or rapid little pencil drawings on the spot."[1]
Views from the house became the subject or background to many of Dobell's later works. He painted scenes of Lake Macquarie and landscapes of the Wangi area, as they appeared from his house and studio. Elements of the building and contents, such as the verandah and the cane furniture were incorporated in his paintings.[1]
Dobell House is further associated with the artist having been designed by Dobell, initially as a two-room weekender, then modified by him through a series of additions which included the second-storey studio.[1]
The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
The place is significant to the contemporary community of Wangi Wangi for its association with William Dobell. The place strengthens the sense of place held by the residents of Wangi. A group of Wangi Wangi residents formed the "Sir William Dobell Memorial Committee" after Dobell's death and raised the money to purchase the house and run it as a house museum.[1]
Dobell House meets this criterion at a local level.[1]
The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.
Dobell House is of state significance for its potential to yield further information about Dobell, hence contribute to a greater understanding of the cultural history of Wangi Wangi and NSW.[1]
Dobell House is not notable for aesthetic or artistic merit. Its haphazard, sometimes inferior construction and its degraded finishes have the potential to give some insight to the character of the artist who chose to live simply, with minimal facilities and comforts.[1]
The elegant composition and balance evident in Dobell's portraits and landscapes, when contrasted with the disjointed nature of the building additions he designed for Dobell House and elements such as the disparate quality of the individual paintings on Alice's bedroom door, may have the potential to shed light on the nature of Dobell's artistic talent.[1]
The place, including the house, studio and garden, is a source for aspects of the artist's life that are not available in other records or his body of work and which could assist in the ongoing discussion and assessment of his contribution to Australian Art.[1]
The Archibald Prize is an Australian portraiture art prize for painting, generally seen as the most prestigious portrait prize in Australia. It was first awarded in 1921 after the receipt of a bequest from J. F. Archibald, the editor of The Bulletin who died in 1919. It is administered by the trustees of the Art Gallery of New South Wales and awarded for "the best portrait, preferentially of some man or woman distinguished in Art, Letters, Science or Politics, painted by an artist resident in Australia during the twelve months preceding the date fixed by the trustees for sending in the pictures". The Archibald Prize has been awarded annually since 1921 and since July 2015 the prize has been AU$100,000.
Sir William Dobell was an Australian portrait and landscape artist of the 20th century. Dobell won the Archibald Prize, Australia's premier award for portrait artists on three occasions. The Dobell Prize is named in his honour.
The Norman Lindsay Gallery and Museum is a heritage-listed former residence and farmlet and now art gallery, tourist attraction and museum located at 14-20 Norman Lindsay Crescent, in the Blue Mountains town of Faulconbridge in the City of Blue Mountains local government area of New South Wales, Australia. It was built from 1898 to 1913 by Francis Foy; Patrick Ryan; Norman Lindsay; Rose Soady. It is also known as Maryville and Springwood. The property is owned by National Trust of Australia (NSW). It was added to the New South Wales State Heritage Register on 1 March 2002. The property is a stone cottage on a 17-hectare (42-acre) block of land which was owned by the Australian artist and writer Norman Lindsay and his wife, Rose. The property also contains some smaller buildings including two used as an oil painting studio and an etching studio.
Wangi Wangi is a suburb of the City of Lake Macquarie in New South Wales, Australia, which forms a peninsula jutting eastwards into Lake Macquarie. Wangi Wangi is a well known holiday spot, that was frequented in the early days by families from the coalfields. It is known for its beautiful views, bush-walking, and fishing spots.
Tresco is a heritage-listed residence located at 97 Elizabeth Bay Road, Elizabeth Bay, City of Sydney, New South Wales, Australia. It was designed by Thomas Rowe and built by Rowe from 1867 to 1883. The property is privately owned. It was added to the New South Wales State Heritage Register on 2 April 1999. The property has previously functioned as a private residence, navy housing, and homestead and was originally indigenous lands. Before 2004 it was owned by the Royal Australian Navy and served as an official residence for the senior naval officers in New South Wales.
Glen Alpine is a heritage-listed villa at 32-36 East Street, Redwood, Toowoomba, Toowoomba Region, Queensland, Australia. It was designed by Toowoomba architect Harry Marks and built c. 1918. It was added to the Queensland Heritage Register on 11 June 1993.
Nindooinbah Homestead is a heritage-listed homestead at Nindooinbah Connection Road, Nindooinbah, Scenic Rim Region, Queensland, Australia. It was built from c. 1858 to 1907. It is also known as Nindooinbah House. It was added to the Queensland Heritage Register on 21 October 1992.
Richard Randall Art Studio is a heritage-listed studio at Brisbane Botanic Gardens, Mt Coot-tha Road, Toowong, City of Brisbane, Queensland, Australia. It was built in c.1900. It is also known as Richard Randall's Studio. It was added to the Queensland Heritage Register on 21 October 1992.
Mountview House is a heritage-listed detached house at 37 Leichhardt Street, Spring Hill, City of Brisbane, Queensland, Australia. It was originally built in the 1860s with a new wing added in 1882 designed by Andrea Stombuco. It was added to the Queensland Heritage Register on 13 May 2004.
The William Berry residence is a heritage-listed detached house at 1 Burnett Street, West Ipswich, City of Ipswich, Queensland, Australia. It was built c. 1874. It is also known as William Berry residence. It was added to the Queensland Heritage Register on 21 October 1992.
Rockhampton Girls Grammar School is a heritage-listed private school at 155 Agnes Street, The Range, Rockhampton, Rockhampton Region, Queensland, Australia. It was designed by Edwin Morton Hockings and built in 1890 by Moir Cousins and Co. It was added to the Queensland Heritage Register on 20 October 2000.
Muralambeen Homestead is a heritage-listed homestead off Bosworth's Road, Forrest Beach, Shire of Hinchinbrook, Queensland, Australia. It was built from c. 1881 to c. 1900. It was added to the Queensland Heritage Register on 25 February 2005.
Our Lady of the Sacred Heart Church is a heritage-listed Roman Catholic church at 120 Douglas Street, Thursday Island, Shire of Torres, Queensland, Australia. It was built from c. 1885 to c. 1905. It was added to the Queensland Heritage Register on 7 December 1998.
Broken Hill Post Office is a heritage-listed post office at 258-260 Argent Street, Broken Hill, City of Broken Hill, New South Wales, Australia. The original building was designed by James Barnet, and was built from 1890 to 1892 by John Dobbie. Walter Liberty Vernon designed a telegraph office addition in 1900. The property is owned by Australia Post. It was added to the New South Wales State Heritage Register on 22 December 2000. It was added to the Australian Commonwealth Heritage List on 08 November 2011.
Culwalla Homestead is a heritage-listed former dairy farm and now residence located 2km east of Jamberoo Main Road, Jamberoo, Municipality of Kiama, New South Wales, Australia. It was built in 1858 by James Marks. It was added to the New South Wales State Heritage Register on 2 April 1999.
Morpeth House and Closebourne House is a heritage-listed precinct containing two associated residences built by Edward Charles Close at 365 Morpeth Road, Morpeth, City of Maitland, New South Wales, Australia. It includes Morpeth House and Closebourne House. They were built from 1829 to 1849. They were added to the New South Wales State Heritage Register on 2 April 1999.
Holly Lea and Plough Inn is a heritage-listed site at Holly Lea Road, Leumeah in the City of Campbelltown, New South Wales, Australia. The heritage listing includes a former residence, an inn and a storage shed. It was built from 1816 by William Ray. It is also known as Plough Inn; Three Brothers (inn); The Travellers' Home (inn); Borobine House; Hollylea; and William Ray's Cottage Inn Coolroom. The property is privately owned. It was added to the New South Wales State Heritage Register on 2 April 1999.
Undercliffe Terrace is a heritage-listed row of terrace houses located at 52-60 Argyle Place, in the inner city Sydney suburb of Millers Point in the City of Sydney local government area of New South Wales, Australia. The property is also known as Grimes' Buildings. was added to the New South Wales State Heritage Register on 2 April 1999.
Mr Joshua Smith, also known as Portrait of an Artist , is a 1943 painting by Australian artist William Dobell. The painting is a portrait of Joshua Smith, an artist and friend of Dobell. The painting was awarded the Archibald Prize in 1943. The painting took a modernist approach to portraiture; a break with the realism favoured to that date by Archibald Prize entrants.
[I was] trying to create something, instead of copying something. To me, a sincere artist is not one who makes a faithful attempt to put on canvas what is in front of him, but one who tries to create something which is living in itself, regardless of its subject. So long as people expect paintings to be simply coloured photographs they get no individuality and in the case of portraits, no characterisation. The real artist is striving to depict his subject’s character and to stress the caricature, but at least it is art which is alive.
Storm Approaching Wangi is a 1948 painting by Australian artist Sir William Dobell. The painting depicts a storm at Wangi Wangi in the Hunter region of New South Wales.
Dobell's successful Wynne landscape entry is more conventional, although still typical Dobell in feeling. Two men and a woman are in the foreground at the edge of a lake drawing a boat to the shore. The menace of an approaching storm is typified by a stark black tree nearby, a threatening sky and a deserted background.
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