47

GEORGES MAIGRET (FRENCH, 1846-1929)
Enfants au Parc

oil on board
signed lower right: Georges MAIGRET
30.5 x 45cm

PROVENANCE
The George Brugler & Jasmine Cowen Collection, Melbourne

COLLECTION ESSAY
The George Brugler & Jasmine Cowen Collection (Lots 47-112)

In October 1956, the Hungarian Revolution erupted, with thousands of student protesters taking to the streets of Budapest demanding a more democratic political system. The revolution was met with swift and violent force from the Soviet occupying army, leading to a mass exodus of nearly a quarter-million Hungarian nationals. Among them were Elmer and Anna Brugler, with their 10-year-old son George. The family fled their home in Budapest to a neighbouring country seeking asylum, where they were granted refugee status and relocated to Australia in 1957. This formative experience for George left a lasting impression of sentimentality for Europe, followed by a life-time appreciation of Australian art and culture. The resulting collection is a blend of both cultures, honouring his family's journey and his dual cultural identity.

The Brugler family settled in Northern Tasmania where George's father, Elmer, an experienced engineer, gained a long-standing position working on Tasmania's prosperous hydroelectric scheme. Despite the initial language barrier, George's academic excellence shone through, earning him a place to study medicine at the University of Tasmania. He undertook residencies in Sydney and Melbourne, specialising in pathology. His dedication and hard work were evident in his early career, and he soon established himself as a leading pathologist in Hobart's public health system, spending his hours detecting cancer through his microscope each day. Additionally, he taught at the University of Tasmania and published academic research that contributed to advancements in the field.

Jasmine Cowen came into George's life in 1994. Originally from Queensland, Jasmine trained as a lawyer and later studied a Master of Education at the University of Melbourne, her thesis explored how global managers engage in learning outside of formal channels. She travelled broadly before settling in Hobart, where she worked as a counsellor and naturopath. Jasmine's lifelong interest in philosophy, especially Eastern philosophy, complemented George's love for art. The couple married in 1996, their partnership was one of love and happiness - founded a mutual passion for art, music, literature, and travel. Jasmine encouraged George to revisit Europe and heal the trauma of his early childhood memories. Through her nurturing and compassionate guidance George was able to reconcile the past and revisit Budapest later in life. Some of their happiest times were spent abroad on the ski fields of North America and Europe, though they were equally content at home together and with their family and their cherished miniature schnauzers Larry and Lou Lou. In 2001, they decided to relocate from their beachside home in Sandy Bay, Tasmania to Barry Street, Kew, only houses away from artist Alma Figuerola's historic home.

Aside from an illustrious professional career, George had an insatiable curiosity for art which offered a stark contrast to his important albeit monotonous work as a pathologist. He had an intuitive eye for quality and so began acquiring colonial works in his early 20s, deftly navigating the various sectors of the Australian art market from dealers, galleries and auction houses. He took pleasure in meticulously restoring many of the frames in his collection in a dedicated framing workshop in the backroom of his Sandy Bay home. George made regular trips to Melbourne and Sydney to visit auctions and galleries and developed one of the best private art collections in Tasmania.1 His move towards more impressionistic works began with the purchase of a light infused rural scene by James Muir Auld (Lot 90). He sent the painting off to be professional cleaned and was amazed with the results. It encouraged him to speculate what vivid colours may be hiding behind the veil of dirt and dust, just waiting to be uncovered. His focus shifted to acquiring more post-impressionist and tonal style paintings, moving away from the colonial pieces of his earlier collecting days. An emerging love of Australian tonal artists developed, and his collection features many women artists such as Esther Patterson, Mabel Hockey and Alma Figuerola who were slow to receive the attention their work so readily deserves.

George was a passionate writer and published a regular column titled 'Art Line', which was periodically featured in Tasmanian newspaper The Mercury. His articles offered candid reporting on the nuances of the art world. He rarely dabbled in contemporary art, although he wrote a heartfelt obituary mourning the passing of Howard Arkley. His commentary was playful, tempered with sage advice for would-be collectors, encouraging a considered and well-read approach to collecting. This scholarly approach is exemplified in George's collection; Through diligent research he acquired a wealth of knowledge and expertise in Australian art, offering fine art valuations and opening a small public gallery in his Sandy Bay home where he could share his collection with other enthusiasts.

This collection, treasured by both George and Jasmine, is a cultivation of a lifetime. Representing years spent contemplating auction and gallery catalogues, researching, writing and discussing art. Each piece has been selected with care and consideration. The collection personifies a genuine appreciation for harmonious composition, a balanced palette and the eternal search for the genius in a single brushstroke.


1. In conversation with John Perry, who was a close friend and acquaintance of Dr. George Brugler and later Jasmine Cowen.

  • Condition: All items are sold on an 'as is' basis. Statements in the catalogue entry or in the condition report are statements of opinion and are not to be relied upon as statements of fact. All statements are provisional and do not constitute a representation, warranty or assumption of liability by Gibson’s.  Lots should be evaluated on personal inspection by the bidder or a knowledgeable representative. The absence of such statements does not imply that the Lot is free from defects or restoration. Neither Gibson’s nor the Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

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October 27, 2024 12:00 PM AEDT
Armadale, Australia

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Bid Increments
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A$500 A$999 A$50
A$1,000 A$1,999 A$100
A$2,000 A$4,999 A$200
A$5,000 A$9,999 A$500
A$10,000 A$19,999 A$1,000
A$20,000 A$49,999 A$2,000
A$50,000 A$99,999 A$5,000
A$100,000 A$199,999 A$10,000
A$200,000 A$499,999 A$20,000
A$500,000 A$999,999 A$50,000
A$1,000,000 A$1,999,999 A$100,000
A$2,000,000 + A$200,000