Showing all records | The Scheding Index of Australian Art and Artists

Molvig John reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Murch Arthur reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Muskett Alice reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Newmarch Ann reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Nixon Bishop reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Norton Frank reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

O’Connor Vic reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Olley Margaret reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Orban Desiderius reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Pareroultja brothers reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Peerless Tom reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Patterson Ambrose reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Plate Carl reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Ramsay Hugh reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Raper George reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Rapotec Stanislaus reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Raworth W H reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Reed John and Sunday reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Richardson Charles Douglas reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Riley Alexander reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Ritchard Edgar reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Roberts Douglas reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Roberts Hera reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Robinson George Augustus reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Rooney Robert reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Rose William reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Rosengrave Harry reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Roth Constance reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Russell John reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Russell Rebecca reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Russell Robert reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Sansom Gareth reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Schell Frederick B reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Scott Harriet reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Scott Montagu reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Scurry James reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Shaw Roderick reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Shore Arnold reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Simpkinson Francis de Wesselow reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

de Wesselow Simpkinson Francis reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Slade George Penkivil reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smedley W T reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith Bernard reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith Bernhard reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith Eric reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith Gray reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith James reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith Joshua reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smyth Capt W H reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Society of Artists reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Society of Painters in Watercolour reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Society for the Promotion of Fine Arts in Australia reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Solander Daniel reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Souter D H reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

South Australian Society of Arts reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Spence Percy reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Stanley Charles reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Stanley Owen reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Staunton Madonna reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Stephens Ethel reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Steuart Ronald reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Strachan David reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Tait Bess Norriss reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Terry F C reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Taylor Major James reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Thomas Edmund reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Thornton Wallace reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Tibbits William reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Traill Jesse reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Tristram J W reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Upward Peter reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Smith Sydney Ure reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Vancouver George reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

van den Houten H L reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Verge John reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Victorian Academy of Arts reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Victorian Artists’ Society reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Victorian Society of Fine Arts reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

von Neumayer Geog Balthasar reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Wakelin Roland reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Walker George reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Wallis Captain reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Warren Guy reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Watling Thomas reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Watson Jenny reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Webb Mary reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Webber John reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Weinholt Anne reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Withers Walter reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Woolner Thomas reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Woolner Thomas reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Coventry F H reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Lowe Geoff reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Brown Robert reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Boyd Merric reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

Goldbeck E Oview full entry

Reference: see Andrew Smith Gallery Arizona LLC
Tucson, Arizona, USA, 18.7.2020. Lot 0246 Details
E O GOLDBECK Sydney, New South Wales, Australia ca. 1960 9x58" Signed Gelatin Silver Print 1980 c ASG# EG/002 Signed in ink by Goldbeck Lower Left

E. O. (Eugene Omar) Goldbeck (1892-1986) was the best know panoramic photographer of the 20th Century working out of his hometown of San Antonio, Texas. He called his business the National Photo News Service. In about 1910 he purchased a Cirkut Camera and thereafter specialized in making panorama views of groups, people, things, cities travelling the world. The Cirkut Camera was a rotation camera that could take 360-degree views.
CONDITION
Very Good. Two minor corner bends far left edge

Wright William 1937-2014view full entry

Reference: from artist’s website:
WILLIAM WRIGHT
1937 - 2014.                           Born: Sydney Australia,
1937 - 1959    Sydney Australia
1954 - 1958                             Attended National Art School, Sydney, Diploma in Painting (A.S.T.C.)
1959 – 1960 Florence
1959 – 1960                            Florence, Italy. Attended the Accademia di Belle Arti with part time study of
Restoration at the Museo del Accademia
1960 - 1976                             London, United Kingdom
1961                                        Attended Central School of Art and Design (printmaking, lithography)
1964                                        Attended Goldsmiths College, London (printmaking, relief etching)
1965                                        First Solo exhibition, Traverse Gallery, Edinburgh
1965 - 1968                             Exhibited in Edinburgh, London, Warsaw, Sydney, Melbourne, Adelaide.
1967                                        Solo exhibition Komon Gallery, Sydney
Solo exhibition Tolarno Galleries, Melbourne
1970 - 1976                             Head, Department of Painting, Winchester School of Art. U K.
1976 - 1981                             New York, Unites States of America
1976 - 1979                             Associate Dean (Programme Director) New York Studio School.
1979 -1980                              Acting Dean, State University of New York at Purchase.
1981 - 2014                           Sydney, Australia
1980 - 1982                             Artistic Director, Vision in Disbelief 4th Biennale of Sydney.
1982 - 1991                             Assistant Director Professional Art Gallery of New South Wales, Sydney
1992                                        Lecturer/coordinator, Post Graduate Museum and Gallery Management
                                                University of New South Wales
1982 - 1997                             Member, Board of Directors, Biennale of Sydney
1991 - 2002                             Curatorial Director, Sherman Galleries.
2002                                       Awarded the Australia Council Emeritus Medal
                                                 for services to art, art education, curatorship and artists.
2002 - 2005 Director, Sherman Galleries
2003                                        Appointed AM, Member of the Order of Australia
2003 - 2008 President, Australian Chapter, AICA (International Association of Art Critics)
2004 - 2014 Director, William Wright Consulting
2005 - 2008 Member, Board of Directors, NAVA (National Association for the Visual Arts)
2006 - 2010 Sherman Foundation Fellow in Contemporary Art
Department of Art History and Theory, University of Sydney
2009 - 2014 Tutor (painting), National Art School
2010                                        Appointed Fellow, National Art School
2010 - 2014    Director, William Wright • Artists Projects

EXHIBITIONS
Solo Exhibitions:
1965    Traverse Gallery, Edinburgh
1966    Richard Demarco Gallery, Edinburgh
1967    Rudy Komon Gallery, Sydney
Tolarno Galleries, Melbourne
North Adelaide Gallery, Adelaide
Edinburgh College of Art, 1967 Edinburgh Festival
British Architectural Association, London
1968    Essex University Gallery, Essex
Richard Demarco Gallery, Edinburgh
Continued studio practice but ceased actively exhibiting in 1968
2008 Triptych (3 solo exhibitions) Galerie Dusseldorf, Perth
2014    Eclipse, Drawing Room Gallery, Kings Cross, Sydney
2014     This is not an Exhibition, William Wright • Artist Projects, Sydney
Selected Group Exhibitions:
1966 Richard Demarco Gallery Inaugural Exhibition,
Contemporary British Artists, Edinburgh Festival.
Richard Demarco Gallery, Edinburgh
Australian Artists, South London Gallery, London
Gallery Artists, Richard Demarco Gallery, Edinburgh
1967    Contemporary British Painting, Gallery of the Union
of Polish Artists, Warsaw
1968    Edinburgh Festival Exhibition, Richard Demarco
Gallery, Edinburgh
1984    The 1960s, Art Gallery of New South Wales, Sydney
1985    20th Anniversary Exhibition, Traverse Gallery, Edinburgh
2008   Triptych. Dusseldorf Gallerie Perth.
2011    Triptych: Mais Mais Wright Wright
Drill Hall Gallery, Australian National University, Canberra
2012 Tr. 3, WW/Artists' Projects, Sydney
2013 ORBIT: works on paper, Drawing Room, Sydney
2014 Returning to The Field, SNO Contemporary Art Projects, Sydney
DE COLORI, WW Artists Projects, Sydney
2015 The Triumph of Modernism in the Art of Australia, Hazelhurst Regional Gallery, Hazelhurst
Tarrawarra Museum of Art, Victoria.
           Painting 1: ANGLE, EDGE, GRID. William Wright • Artists Projects, Sydney
REVIEWS:
1965    Cordelia Oliver, The Guardian, March
Sydney Goodsir-Smith, William Wright at the Traverse;
Painter who loves world, The Scotsman, March
1966 Edwin Mullins, The Sunday Telegraph,
London, August 21st
Cordelia Oliver, The Guardian, August
Terence Mullaly, London Daily Telegraph, 26th August
Cordelia Oliver, The Glasgow Herald, 24th August
Anne Matheson, Sunday Telegraph, Sydney 17th April
1967    Elwyn Lynn, William Wright at Komon, The Bulletin,
Sydney, March 4th
Elwyn Lynn Art & Australia(DATE?)
George Berger, The Jewish News, Sydney, March
Wallace Thornton, Sydney Morning Herald, March
Elwyn Lynn The Australian
Alan McCulloch, Stimulus to use of one colour,
The Melbourne Herald, Melbourne, April
Art that’s different and worthwhile
Melbourne Sun 18th April
Patrick McCaughey, Gifts and Guesses
The Age, Melbourne, 19th April
Martin Collins, The Australian, 21st April
Ronald Millar, The Australian, 29th April
Elizabeth Young, Adelaide
Guy Brett, The Times, London, August 25th
Cordelia Oliver, Six One-Man Shows, The Guardian,
London, August 23rd
John Russell, A Challenge Won, The Sunday Times,
London, August,
1968 S L, A square view of squares,
review, Essex University exhibition
2009 Douglas Sheerer, Many Hands: Mais Wright Work
Australian Art Collector, Jan - Mar, p 87
2011    Michael Desmond, Triad, Cat Essay Triptych Exhibition
Drill Hall Gallery, Australian National University, Canberra
Sasha Grishin Talented Family has Broad Brush
Canberra Times Weekend Review 15 Oct
Collections:
Art Gallery of New South Wales
Stirling University, Perthshire, Scotland
New England Regional Art Museum, New England
Richard Demarco European Art Foundation Collection
The University of Dundee, Dundee, Scotland
Australian National University, Canberra
             Tarra Warra Museum, Melbourne

Ashton Julianview full entry

Reference: see Hordern House catalogue, July, 2020:
Shipping on the Yarra - Early Morning
ASHTON, Julian Rossi.
Melbourne: circa 1880.
Watercolour on paper, 355 x 540mm, mounted and framed; signed lower right.
The Yarra River in dawn light

A lovely example of Ashton's atmospheric watercolours, illustrating his sensitive use of colour and light; the steam ships and the warehouses beyond are painted delicately at sunrise when the light is especially soft, whilst the Yarra River is bathed in a shimmering glow of subtle colour. This was one of six works that Ashton exhibited in the tenth exhibition of the "Victorian Academy of Arts" in 1880 (number 117), all of which drew high praise: "In each the artist has succeeded in exhibiting comparatively common place objects under a poetic aspect, without doing violence to nature; and in all he proves himself to have a remarkably fine eye for colour" (The Argus, Saturday April 3, 1880).
Julian Rossi Ashton (1851-1942) had exhibited at the Royal Academy of Arts, London before emigrating to Australia in 1878. He lived in Melbourne for five years before moving to Sydney where he dominated the Sydney art scene for over fifty years as an artist, teacher and patron, founding the "Julian Ashton Art School" in 1890. His early European training with the Academie Julien in Paris and at the West London School of Art encouraged French realism of the Barbizon School with its emphasis on "en plein air" painting. Later, as a trustee of the Art Gallery of New South Wales, Ashton became an avid promoter of Australian Impressionism. In the magazine "Home" (March 1924) Arthur Jose named him as one of 'the seven greatest living Australians' and in 1930 he was made a Commander of the Order of the British Empire.
Provenance: Private collection, Melbourne

Paynter John F Wview full entry

Reference: see Hordern House catalogue, July, 2020:
Logbook of HMS Hercules…
PAYNTER, John F.W.
At Sea and various ports: 1852-54.
Small folio, a neatly tabulated and written manuscript comprising 114 pp of Hercules Log [followed by 2 pp partly written and abandoned, at one time concealed by pasting together], and 28 pp of Royalist Log; altogether 22 images (see note); original journal binding of half green roan leather with marbled boards and endpapers.
Original log of a troubled Scottish emigrant voyage to Australia

A desirable original midshipman's log of a particularly interesting voyage to Australia, illustrated with most attractive unpublished drawings including a suite of four charts showing a dated track of the voyage, a fine double-page map of "Port Phillip 1853" with detailed soundings, and a series of sixteen coastal drawings, ten of them depicting Australian locations such as Kangaroo Island, Cape Shanck, North Head Port Jackson, Lord Howe and Norfolk Islands. Paynter, a "master's assistant" (approximately midshipman at this time of changing naval ranks), kept a diligent and very complete record of the voyage, carefully illustrating his log with these fine coastal profiles and maps.
This fateful voyage was commissioned by the Highlands & Islands Emigration Society, a charitable enterprise which, conscious of the need for settlers in the colonies, sought to resettle impoverished Scots and thus (perhaps not so charitably) release Scots landlords by a clearance of unprofitable tenancies. The Hercules took on some 840 of these emigrants, headed for South Australia and Victoria. They could have been forgiven for thinking themselves ill-fated: the ship sailed from Campbeltown (Argyllshire, Scotland) on 26 December 1852 but ran into a storm which forced them after five days into an anchorage off Rothesay, in the Isle of Bute. After weathering the storm, the ship set out again on 14 January 1853 but almost immediately both smallpox and typhus broke out aboard and as a result the Hercules had to put into Ireland and undergo a three-month quarantine off Cork before finally sailing, arriving on 26 July in Adelaide, where 194 disembarked, and sailing on to Port Phillip where the remaining 183 emigrants were landed. Sydney was also a port of call.
The ship then went on to Hong Kong where she was to be used as a hospital hulk for the garrison. She served this purpose until being deemed unseaworthy and beyond repair in 1865.
---
One of those affected by the smallpox epidemic off Cork was Paynter himself, appearing on the ship's sick list with "variola" on 26 February 1853; two days later he was put ashore to the Haulbowline naval hospital in Cork (source: https://discovery.nationalarchives.gov.uk/browse/r/h/C4107014 and https://discovery.nationalarchives.gov.uk/details/record?catid=-6112800&catln=7). He would survive, though the ship's surgeon and nurse matron were not so fortunate, and fifty-six emigrants died; seventeen consequently orphaned children were returned to Scotland. Many of the emigrants were assigned to other ships and in the process several family groups were separated for the voyage to Australia. Only 380 emigrants finally sailed; the remaining 300 or so were distributed between twelve various vessels in 1853.
Paynter did not miss a day in his log as he moved from the Hercules once in Hong Kong to an eastbound sloop, the Royalist, beginning his log of that ship the very next day; that section occupies the final 28 pp. as "Log of H.M. Sloop Royalist. W.J. Bate Esq. Commander" and records all details from Hong Kong (27 December 1853) to Simons Bay - modern Simon's Town, Cape Town - where the log finishes on 24 March 1854.
Paynter's record of the Hercules voyage includes daily details of the working of the ship, and of the places that came in sight as they approached or reached land. Largely because of the enforced quarantine off Ireland and the arduousness of the voyage itself, there are significantly more details about the emigrants than one might expect to find in a more standard log of the type and period. In terms of new information, Paynter records such things as the death of individual passengers and includes many details of the route that was taken.
The visits to Adelaide and Port Phillip are of extra interest, dating as they do from a time when the population and emigration explosions were reflecting the gold rushes of the early 1850s. Also, we should note the special features of the so-called "Highland project" which brought so many new immigrants to such cities as Adelaide and Port Phillip which as freely-settled were quite different from the penal colony cities.
The volume of Scottish immigration from the 1830s to the 1850s has proved a very substantial field for study with a wide-ranging literature already in print, no doubt in part addressing the pride of descendants. The Scottish diaspora has been increasingly celebrated, for example in the wonderful exhibition "For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation" at the Art Gallery of Ballarat in 2014.

The images
The images added to his log by Paynter have a real presence. They comprise:
A full page "Plan of the Holds"
Four full-page attractively drawn charts showing the progress of the voyage, with dated tracks, from (1) Queenstown to the Equator; (2) from the Equator to the Cape of Good Hope; (3) through the Indian Ocean showing the African coast, Madagascar, Bourbon and Mauritius, St Paul and Amsterdam Islands; (4) along the south coast of Australia to Port Philip showing entire coast as well as Tasmania and Bass Strait.
A double-page map entitled "Port Phillip 1853" with detailed soundings.
Sixteen drawings, mostly of Australian locations, are as follows:
South Africa
Cape of Good Hope
Noahs Ark and a cape beyond from anchorage in Simon's Bay
Australia
Cape Willoughby and Lighthouse Kangaroo Island
Cape Flinders New Holland
Cape Shank South Australia
Sir Roger Curtis Group Bass's Strait
Sydney North Head
Sydney Watsons Bay
Balls Pyramid
Lord Howe Island [and] Balls Pyramid
Philip Island
Norfolk Island
Melanesia
Mitre Island [looking north]
Mitre Island [looking east]
Micronesia
Oulam or Strong's Island
Pedro Blanco

Literature on the voyage
There is a considerable literature on this voyage, starting with W.B. Clark's HMS Hercules Scottish Emigration Ship (1989), and followed by a number of recent studies including Robin Haines's Doctors at Sea: Emigrant Voyages to South Australia (2005), Rowan Strong's Victorian Christianity and Emigrant Voyages to British Colonies (2017), and Ian McPhee's The Naked Clansmen on Mull & Iona (2020).
There is also much online: for example, the Highlands & Islands Emigration Society in Australia has collected extensive material (see http://www.theshipslist.com/accounts/hies_hercules.shtml). A list of the ship's passengers can be found at http://www.theshipslist.com/ships/australia/hercules1853.shtml. In Scotland, the National Records has further relevant details at https://www.scotlandspeople.gov.uk/record-guides/highland-and-island-emigration-society-records#Ship%20sailings. The maintenance of these records attests to the ongoing importance of the voyage for the descendants of those who emigrated and still today revere their Scottish and Highland heritage.
Another website devoted to the Hercules can be found at http://www.angelfire.com/ns/bkeddy/HIES/hercules.html.

less
Provenance: Recent private owner in the US who advised that "In terms of provenance, I bought this item a long time ago at a high-end antique show in New Jersey."

Woolner Thomasview full entry

Reference: Tiresias, by Thomas Woolner. [Poems].
see Hordern House catalogue, July, 2020:
Friend of Tennyson and Sir Charles Latrobe's sculptor. Author's signed presentation copy: a long narrative poem recounting the pantheistic vision of the blind sage Tiresias.
A founding member of the pre-Raphaelite Brotherhood, and the only sculptor, Thomas Woolner (1825-1892), like so many of his contemporaries, was lured to the Australian goldfields in the hope of securing a fortune. After six months without success he settled briefly in Melbourne where he won a number of commissions including a medallion of Governor Latrobe, and in Sydney, a portrait of Sir Charles Fitzroy, Sir Charles Nicholson, Sir Redmond Barry, Admiral Phillip Parker King and several members of the G. W. Cole, Macarthur and Howitt families. In 1879, during the height of his successful career, he was commissioned to sculpt the statue of Captain Cook which stands in Hyde Park, Sydney. Sir Henry Parkes had arranged for Woolner to execute statues of Sir Charles Cowper, Sir James Martin and Wentworth, but in late 1891 the new government of (Sir) George Dibbs cancelled the commission. Woolner, famous as both a poet and sculptor, once said 'Poetry is not my proper work in this world; I must sculpture it, not write it'.
From Australian Book Auctions, March, 2021: ‘A scarce book of poems, with tipped-in presentation slip signed by the author, by the artist and sculptor Thomas Woolner, who had come to the Victorian goldfields to make his fortune. Without success as a digger, he removed to Melbourne where he found work as a sculptor and portrait painter, producing a medallion of Governor Latrobe and a portrait of Sir Redmond Barry, among others. Moving to Sydney he painted a number of notable portraits, including Sir Charles Fitzroy and Admiral Phillip Parker King, as well as sculpting the well-known statue of Captain Cook in Hyde Park.’
Publishing details: London: George Bell, 1886.
Octavo; uncut copy in original red cloth, gilt device on upper board.

Hudson Mikeview full entry

Reference: Hudson (Mike) & Jadwiga Jarvis
PRIVATE IMPRESSIONS:
a second collection of four monographs about printing and other book arts.
Pp. [x]+viii +68 (printed in blue, yellow/brown and black with some other single colours, last blank), hand-tipped coloured frontispiece ( numbered and signed by Mike Hudson), text illustrations ( mostly black & white, plus 1 coloured folding), 4 large coloured decorative initials, coloured typographic endpapers; f'cap. folio; dark green cloth with printed paper labels inlaid on upper board; within olive green card slipcase. [with Kay Craddock - Antiquarian Bookseller, 2020]
Publishing details: Wayzgoose Press, Katoomba, NSW, 2001. Edition limited to 15 numbered copies, signed by the publishers; one of 12 copies.
Ref: 1000

Syme David and Annabellaview full entry

Reference: David & Annabella SYME. Gift album of watercolours of their Yarra Valley properties in Victoria.
A beautiful album bound in full leather, with gilt edges and containing stunning watercolours of Killara and Dalry, both properties in the Yarra Valley. Killara was once owned by David Mitchell, Dame Nellie Melba’s father, who sold the property to David Syme in 1883. Syme owned and operated 'The Age' newspaper in Melbourne from 1860 until his death in 1908. He farmed both Killara and Dalry for many years, together with Tarrawarra which he bought in 1893. He was a pioneering farmer in Victoria as a livestock owner and an orchardist.
Containing 24 superb watercolours by J. Macfarlane, with hand-written captions, the album was a gift from the Syme children to their parents David and Annabella in 1894.
J. Macfarlane was a painter in the late colonial period, as well as a political cartoonist and illustrator. He did many historical drawings of Australian exploration subjects, including the expeditions of Sturt, Mitchell, Henty, Leichhardt, McDouall Stuart, Forrest and Eyre.
The condition of the album and the watercolours is fine.
with Justin Healy Antiquarian Booksellers, July 2020.

Syme Annabella and David view full entry

Reference: David & Annabella SYME. Gift album of watercolours of their Yarra Valley properties in Victoria.
A beautiful album bound in full leather, with gilt edges and containing stunning watercolours of Killara and Dalry, both properties in the Yarra Valley. Killara was once owned by David Mitchell, Dame Nellie Melba’s father, who sold the property to David Syme in 1883. Syme owned and operated 'The Age' newspaper in Melbourne from 1860 until his death in 1908. He farmed both Killara and Dalry for many years, together with Tarrawarra which he bought in 1893. He was a pioneering farmer in Victoria as a livestock owner and an orchardist.
Containing 24 superb watercolours by J. Macfarlane, with hand-written captions, the album was a gift from the Syme children to their parents David and Annabella in 1894.
J. Macfarlane was a painter in the late colonial period, as well as a political cartoonist and illustrator. He did many historical drawings of Australian exploration subjects, including the expeditions of Sturt, Mitchell, Henty, Leichhardt, McDouall Stuart, Forrest and Eyre.
The condition of the album and the watercolours is fine.
with Justin Healy Antiquarian Booksellers, July 2020.

Stewart Eric 1903 – 1970view full entry

Reference: at Bridget McDonnell Gallery, July 2020.
Eric L. Stewart 1903 – 1970
Ayers Rock 1959
Oil on canvas
86.3 x 129 cm
Signed and dated; also signed, dated and inscribed artist on reverse
Provenance: The Berry collection, Melbourne
Exhibited: Modern Australian Paintings, Bridget McDonnell Gallery, August 2010, no. 18
Eric Stewart was a self-taught artist. His paintings were inspired by books on indigenous culture including Myths and Legends of the Australian Aborigines by W. Ramsay Smith, 1930; Brown Men and Red Sand by Charles P. Mountford, 1948 and Aboriginal Myths and Legends by Roland Robinson, 1966. He painted during the 1950s and '60s, a time when an appreciation of indigenous culture was rare.

Baylis Clifford 1912-1989view full entry

Reference: at Bridget McDonnell Gallery, July 2020.
Clifford Bayliss 1912-1989
View from Wings, Scenes de Ballet 1952
Designer: André Beaurepaire
Gouache
76 x 52 cm
Signed and dated 1952
Provenance: Estate of the artist, London. Exhibited: Clifford Bayliss, Paintings, drawings and sculptures from the estate of the artist in London, Bridget McDonnell Gallery, November, 2007, no. 20
Melbourne artist, Clifford Bayliss won the National Gallery School, Travelling Scholarship in 1935. He worked full time as Production Assistant at the Royal Opera House, Covent Garden, from 1955 - 1963 and part time before that. His works are represented in many major Australian public collections.
and
Stage design for Medea, starring Maria Callas, ROH, Covent Garden, London 1959
Mixed media
36 x 55.5 cm
Inscribed on reverse Medea cyclorama round
Provenance: Estate of the artist, London
Exhibited: Clifford Bayliss, Paintings, drawings and gouaches 1940s-1980s from the estate of the artist, London, Bridget McDonnell Gallery, September, 2011, no. 13.

Lees Derwent 1884-1931view full entry

Reference: at Bridget McDonnell Gallery, July 2020.
Derwent Lees 1884-1931
Sketch of Lyndra c 1913
Pencil, 31 x 24 cm
Provenance: Redfern Gallery, London; John & Edward Barkes
The Australian artist, Derwent Lees, “...travelled to London to attend the Slade School from 1905 to 1907.
While still studying, he was invited to join the academic staff and he taught drawing at the Slade from 1908 to 1918. His close associates in London included J. D Innes and Augustus John and, around the period from 1910 to 1913, he worked with them in Dorset and Wales, painting lyrical landscapes in vivid colours on small wooden panels. He travelled widely in Europe and, during 1912 to 1914, visited the south of France. He died in hospital in Surrey on 28 March 1931, aged 46. ... Derwent Lees met his wife, Edith Brice, known as Lyndra, through Augustus John, for whom she had modelled”
Ref. T he Edwardians, Secrets and Desires, Anna Gray, National Gallery of Australia, 2004.
Derwent Lees is represented in many important public collections in Australia and the United Kingdom.

Gould Elizabethview full entry

Reference: The Story of Elizabeth Gould by Alec H. Chisholm.

Publishing details: The Hawthorn Press Melbourne 1944. 8vo, 74pp.
Hardcover, bookcloth, gilt titles on front and spine, excellent condition.
Portrait frontis, a limited edition of 350 copies were designed and printed by John Gartner at The Hawthorn Press.
Ref: 1000

Stones Margaretview full entry

Reference: The Endemic Flora of Tasmania in 6 Parts. Author CURTIS, Winifred & STONES, Margaret (paintings).
[’A mammoth task of painting so many species of Tasmania which would occupy Stones for over twelve years. Stones was also the principle contributing artist to Curtis's Botanical Magazine producing over 400 illustrations.’]
Publishing details: London, The Ariel Press, 1975-1978 Hardcover, folios, volumes in good condition but for small tear to bottom of dustjacket of Part V, there are 155 coloured plates in the 6 parts, pagination is from Part 1 to Part VI 478pp. with index of plant names for all 6 parts, index for each volume.
Ref: 1000

Watling Thomas attributedview full entry

Reference: [Watling, Thomas, attributed].
AUSTRALIAN BOTANICAL ILLUSTRATIONS FROM THE NATURALIST'S POCKET MAGAZINE OR COMPLEAT CABINET OF NATURE...
[’Exquisite small images of the extraordinary flora from New South Wales, first introduced to the European public in 1790 in John White', the surgeon for the First Fleet. "Journal of a Voyage to new South Wales with Sixty-five Plates of Non descript Animals, Birds, Lizards, Serpents, curious Cones of Trees..." The images have a primitive quality reminiscent of folk art. Three of the images are somewhat inspired from White's book- Peppermint of New South Wales; Banksia Pyriformis & Banksia Serrata. Others include Honey Flower of New South Wales; Metrosideros Lanceolata: Banksia Incognita; War-Re-Taw (Waratah); Grass Gum Tree. All but two bear the publishing line beneath of Harrison Cluse, & Co. No. 78 Fleet Street, with dates varying from Sept. 1, 1798 to Jan. 26, 1799. It is thought that they are based on paintings by Thomas Watling, a convict with tremendous artistic skill. He was assigned to aid John White (book above), David Collins ("An Account of the English Colony in New South Wales") and Governor John Hunter ("An Historical Journal of the Transactions at Port Jackson...").

This comprises eight of the 20 Australian images published in this work and are the more iconic Australian images that would have been so remarkable to European viewers. 3 1/2 x 5 3/4", copper engravings with original hand color. Some minor toning, a couple with the slight shadow of text offsetting, overall very good condition.

At Antipodean Books, Maps & Prints, July 2020.
Publishing details: London: Harrison Cluse & Co., 78 Fleet Street, 1798-9.
Ref: 1000

Rider & Mercer.view full entry

Reference: At Antipodean Books, Maps & Prints, July 2020.
Rider & Mercer.
Views of Fremantle W.A. in 1892.
Ballarat, Victoria: Rider & Mercer, 1892. A scarce "Supplement to the West Australian and the Western Mail". The central view is of Fremantle Harbor without docks. It is surrounded by various small views of Fremantle and advertisements for Fremantle merchants. In the lower left corner it states; "The advertisements on this sheet are contracted for by Wellesley A. Parker Palace Hotel, Melbourne, Vic.". In excellent condition - a small fold intersection in a blank area with very slt. loss and a couple of minor closed tears in margin. Approximately 37 x 24" plus margins. Read more here.

Gleghorn Tomview full entry

Reference: Homeward Bound: the art and life of Tom Gleghorn, Newcastle Art Gallery, 9 May - 19 July 2020.
‘ART has taken Tom Gleghorn a long way in life.

In his 94 years, Gleghorn has painted his way from the shores of Lake Macquarie, where he grew up, into galleries around the world.

His work has transported him to the Mediterranean, along the streets of London, and into the Australian outback. It has propelled him to the heights of Australian art, exhibiting with John Coburn, Donald Friend, and Robert Dickerson, and it has driven him deep into his own soul.

Gleghorn describes himself as ‘an ordinary man who has chosen painting as something to do’, but he is considered one of Australia’s finest and most influential abstract expressionists.

Yet no matter where he has gone, no matter where art has taken him, Tom Gleghorn has retained a strong connection to Newcastle and Lake Macquarie.

‘It is sort of a home anchor,’ says Gleghorn, who lives in Adelaide. ‘It’s a huge part of my life, because I grew up there. A home away from home.’

Tom Gleghorn’s first solo exhibition of paintings was held at Newcastle Art Gallery in 1959. The show was opened by an admirer and collector of Gleghorn’s paintings, the Nobel Prize-winning writer Patrick White.

Sixty-one years after that exhibition, Tom Gleghorn is homeward bound, with Newcastle Art Gallery staging the first major survey of his work.

HOMEWARD BOUND: the art and life of Tom Gleghorn will feature paintings and drawings from across the artist’s extraordinary career of more than 70 years. The works from private and public collections will allow the viewer to journey through Tom’s world, including his memories in paint of the lake and Newcastle of his youth.

Ultimately, in HOMEWARD BOUND, we can see how far Tom Gleghorn has come, how deeply he has explored, and how much this region has shaped him and has inspired his art.
Scott Bevan, July 2019’
Publishing details: Newcastle Art Gallery, 2020, 8pp (photocopy)
Ref: 138

Kebbell William Francis Vere 1888-1963view full entry

Reference: see HALLS FINE ART AUCTIONEERS, UK, 15 July, 2020, lot 340:
William Francis Vere Kebbell (1888-1963), Portrait of Joanna Denise Vere Kebbell, half length wearing a blue velvet dress seated before an open window, signed top right, pastel, 59 x 50cm Notes: William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery. The sitter in this work is Joanna Kebbell; the daughter of William Kebbell. She was an accomplished ballerina who trained with the Bolshoi. She also enjoyed a successful career as a dance teacher and choreographer.

Also:
William Francis Vere Kebbell (1888 - 1963), Collection of Portraits in Pastel
Halls Fine Art Auctioneers
William Francis Vere Kebbell (1888-1963), A collection of four pastel portraits, three of Joanna Denise Vere Kebbell.

William Francis Vere Kebbell (1888-1963), Memories, Still life, signed top right, Mall Galleries label verso, pastel, 61 x 50cm

William Francis Vere Kebbell (1888-1963), Still life of Flowers, oil on canvas
Halls Fine Art Auctioneers
William Francis Vere Kebbell (1888-1963), Still life of flowers, signed top right, oil on canvas, 77 x 63cm William Kebbell was born in Queensland...
William Francis Vere Kebbell (1888-1963), Two Still Life pastels
Halls Fine Art Auctioneers
William Francis Vere Kebbell (1888-1963), Still life of flowers in a glass vase, signed bottom right, pastel, 54 x 45cm, together with a further  80 - 120 GBP
William Frederick Vere Kebbell (1888-1963), Still Life with Jade necklace, pastel
Halls Fine Art Auctioneers
William Frederick Vere Kebbell (1888-1963), Still life with Jade Necklace, signed top left, Mall Galleries label verso, pastel, 52 x 45cm together...

Location: Shrewsbury

Gant Alfred Stanley 1917 - 1984view full entry

Reference: see Burstow & Hewett auction, UK, 15 July, lot 1084:
Alfred Stanley Gant (1917 - 1984), oil on board, Australian gum trees, signed and dated 1962?, 12" x 16", This work appears to have artist’s biography on the reverse.

Chevalier Nicholas attrib portrait of Queen Victoriaview full entry

Reference: see DOMINIC WINTER AUCTIONS, 31 July, 2020, lot 438:
Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "

NOTES

Provenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Indeed it is known that a copy was made for Government House in Sydney, and therefore this may have been that copy (whose current whereabouts we have been unable to establish). Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).

Bennett Franklinview full entry

Reference: see Esso calendar of Australian artists, referred to in ‘Appointment Northwest’ by Peter Skrzynecki, p322.

photographyview full entry

Reference: see Sun Pictures of Victoria - Aboriginal and goldrush images (the Fauchery-Daintree Collection 1858). Australian photography.
Publishing details: Curry O’Neil, 1983, hc, dw, 143pp

Daintree Richardview full entry

Reference: see Sun Pictures of Victoria - Aboriginal and goldrush images (the Fauchery-Daintree Collection 1858). Australian photography.
Publishing details: Curry O’Neil, 1983, hc, dw, 143pp

21ST CENTURY BEGINNINGSview full entry

Reference: 21ST CENTURY BEGINNINGS. The Corrigan Collection of Aboriginal Art. [to be indexed]
Publishing details: QLD. Gold Coast City Gallery. 2011. Oblong 4to. Col.Ill. wrapps. 39pp. Full Col.ills
Ref: 1000

Dancing Up Countryview full entry

Reference: see Dancing Up Country the art of Dorothy Napangardi

Publishing details: Syd. Museum of Contemporary Art. 2002. 4to. Col.Ill.wrapps. 87pp. Colour plates.

Gatherings IIview full entry

Reference: Contemporary Aboriginal and Torres Strait Islander Art from Queensland Australia, compiled by Marion Demozay
Publishing details: Qld. Keeaira Press, 2006. Oblong 4to. Col.Ill.wrapps. 223,224pp. Profusely illustrated in colour.
Ref: 1000

Ganambarr Gunybiview full entry

Reference: GUNYBI GANAMBARR. From My Mind. Barks, Sculpture, Multi-media Works.
Publishing details: Syd. Annandale Galleries. 2012. Oblong 8vo. Or.bds. 67pp. Col.ills. Edition of 650 copies.
Ref: 1000

OCHRE AND RUSTview full entry

Reference: JONES, Philip. OCHRE AND RUST. Artefacts & Encounters on Australian Frontiers. ‘Takes various Aboriginal artefacts & traces their many varied histories.’
Publishing details: Adel. Wakefield Press. 2007. Or.bds. Dustjacket. 440pp. Many Col.& b/w ills. 1st ed.
Ref: 1000

Aboriginal artview full entry

Reference: JONES, Philip. OCHRE AND RUST. Artefacts & Encounters on Australian Frontiers. ‘Takes various Aboriginal artefacts & traces their many varied histories.’
Publishing details: Adel. Wakefield Press. 2007. Or.bds. Dustjacket. 440pp. Many Col.& b/w ills. 1st ed.

AUSTRALIAN ABORIGINAL ROCK ARTview full entry

Reference: McCARTHY, Frederick David. AUSTRALIAN ABORIGINAL ROCK ART.
‘Art is an important & integral part of Australian Aboriginal culture. Painting & engraving on rock is part of a rich heritage that has been expressed throughout the continent.’
Publishing details: Syd. The Australian Museum. 1979. 4to. Col. Ill.wrapps. 91pp. Light discolouration to pages. Profusely illustrated in colour and black & white. Fourth Edition.
Ref: 1000

McCARTHY, Frederick Davidview full entry

Reference: see McCARTHY, Frederick David. AUSTRALIAN ABORIGINAL ROCK ART.
‘Art is an important & integral part of Australian Aboriginal culture. Painting & engraving on rock is part of a rich heritage that has been expressed throughout the continent.’
Publishing details: Syd. The Australian Museum. 1979. 4to. Col. Ill.wrapps. 91pp. Light discolouration to pages. Profusely illustrated in colour and black & white. Fourth Edition.

Aboriginal artview full entry

Reference: see McCARTHY, Frederick David. AUSTRALIAN ABORIGINAL ROCK ART.
‘Art is an important & integral part of Australian Aboriginal culture. Painting & engraving on rock is part of a rich heritage that has been expressed throughout the continent.’
Publishing details: Syd. The Australian Museum. 1979. 4to. Col. Ill.wrapps. 91pp. Light discolouration to pages. Profusely illustrated in colour and black & white. Fourth Edition.

Aboriginal artview full entry

Reference: see T]ukurrpa: Desert Dreamings - Aboriginal Art from Central Australia (1971-1993) ,Michael O'Ferrall, Perth.
Publishing details: Perth. Art Gallery of W.A. 1993. Exhibition Catalogue. Oblong 4to. Col.Ill. wrapps. 60pp. Col ills.

ornithological artview full entry

Reference: see Birds: The Art of Ornithology, by Jonathan Elphick (Author). With 36 Frameable Prints Hardcover. ‘...a stunning boxed set that comes with a richly illustrated book and thirty-six framable prints, this landmark book will fascinate anyone interested in birds, natural history, and art. With an outstanding selection of the most important and vibrant bird images from the unrivaled collection at the Natural History Museum in London, it includes works by some of the most famous natural-history artists ever published, including Audubon, Lear, MacGillivray, and Gould.’
Publishing details: Skira, edition 2017, 224 pp.

Birds - The Art of Ornithology view full entry

Reference: Birds: The Art of Ornithology, by Jonathan Elphick (Author). With 36 Frameable Prints Hardcover. ‘...a stunning boxed set that comes with a richly illustrated book and thirty-six framable prints, this landmark book will fascinate anyone interested in birds, natural history, and art. With an outstanding selection of the most important and vibrant bird images from the unrivaled collection at the Natural History Museum in London, it includes works by some of the most famous natural-history artists ever published, including Audubon, Lear, MacGillivray, and Gould.’
Publishing details: Skira, edition 2017, 224 pp.
Ref: 1000

Gould Johnview full entry

Reference: see Birds: The Art of Ornithology, by Jonathan Elphick (Author). With 36 Frameable Prints Hardcover. ‘...a stunning boxed set that comes with a richly illustrated book and thirty-six framable prints, this landmark book will fascinate anyone interested in birds, natural history, and art. With an outstanding selection of the most important and vibrant bird images from the unrivaled collection at the Natural History Museum in London, it includes works by some of the most famous natural-history artists ever published, including Audubon, Lear, MacGillivray, and Gould.’
Publishing details: Skira, edition 2017, 224 pp.

Australian Parrotsview full entry

Reference: FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.
Ref: 1000

John C Yrizarryview full entry

Reference: see FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.

Forshaw Joseph Mview full entry

Reference: see FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.

birdsview full entry

Reference: see FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.

MONUMENTAL AUSTRALIAN ARCHITECTUREview full entry

Reference: JIAN, Sophie Ailing (Ed.) MONUMENTAL AUSTRALIAN ARCHITECTURE. Outstanding examples of large-scale architectural works from urban and country centres around Australia.
Publishing details: NSW. BT Latitude. 2001 Folio. Or.bds. Dustjacket. 220pp. Profusely illustrated with colour plates & black & white
illustrations.
Ref: 1000

Architectureview full entry

Reference: see JIAN, Sophie Ailing (Ed.) MONUMENTAL AUSTRALIAN ARCHITECTURE. Outstanding examples of large-scale architectural works from urban and country centres around Australia.
Publishing details: NSW. BT Latitude. 2001 Folio. Or.bds. Dustjacket. 220pp. Profusely illustrated with colour plates & black & white
illustrations.

Endangered species of Australia view full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.
Ref: 1000

Knight F view full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.

Slater P view full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.

Cooper Wview full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.

AUSTRALIAN ENDANGERED SPECIESview full entry

Reference: OVINGTON, Derrick. AUSTRALIAN ENDANGERED SPECIES. Mammals, Birds & Reptiles. 8 plates by various artists.
Publishing details: NSW. Cassell Australia Ltd. 1978. Folio. Or.bds. Dustjacket. 183pp. Profusely illustrated in colour and black & white & many col plates. 1st ed.
Ref: 1000

Jennings Wendyview full entry

Reference: SCHURMANN, Ted & JENNINGS, Wendy. AUSTRALIAN BIRDWATCHER’S DIARY.
‘Fifty magnificent colour paintings by Wendy Jennings make this an indispensable addition to any Australian birdwatcher's library.’
Publishing details: Adelaide. Rigby Publishing. 1984. 4to. Or.bds. Dustjacket. 97pp. Profusely illustrated in colour.
Ref: 1000

Stepnell Ken photographerview full entry

Reference: STEPNELL, Ken (Photography) & DALBY, Jane ( Text). AUSTRALIAN BIRDS.
Publishing details: NSW. Child & Henry Publishing. 1986. Folio. Col.Ill.bds. 63pp. Profusely illustrated in colour.
Ref: 1000

photographyview full entry

Reference: see Slater, Peter, Masterpieces of Australian Bird Photography. Each photograph is accompanied by a brief text, often including comments by the photographer on the philosophy behind his work.
Publishing details: Rigby 1980, hc, dw, Illustrated with Colour and Black & White Photographs. 191 pages

Wall Dorothyview full entry

Reference: WALL, Dorothy. THE TALE OF BRIDGET AND THE BEES. Nine Col.plates & many b/w ills. by the author. [Editions: 1) Tale of Bridget and the Bees written and illustrated by Dorothy Wall. London, Methuen, 1934. 56 pages. 4 colour plates, 4 sepia colour plates and black and white text illustrations. Muir 7827. First edition. 17x21cm. Original decorated boards. 2) The Tale of Bridget and the Bees written and illustrated by Dorothy Wall. First American edition. New York, Artists and Writers Guild, 1935. 45 4 colour plates and black and white text illustrations. Muir 7828. 17x21cm. Original decorated boards. ]
Publishing details: Lond. Methuen & Co. 1934. Or.col.ill.bds. 56pp.
Ref: 1000

Gillespie Rowan Irish b1953view full entry

Reference: see DE VERES ART AUCTIONS, Dublin, Ireland, 23 July, 2020, lot 43:
Rowan Gillespie b.1953
CONVICT WOMAN
Bronze, 18” high (46cms)

From 1803 to 1853, almost 13,000 Irish convict women, together with 2,000 children, were transported to Tasmania. The Footsteps Towards Freedom project was inspired by the experiences of those who made the journey and were imprisoned at Hobart's historic Cascades Female Factory site.

Three women and two children were immortalised in bronze sculptures by Rowan Gillespie, on Hobart's Macquarie Wharf — the arrival point for the convicts. Working in isolation for weeks, he modeled the figures on the living descendants of convict women and children and used photographs and 3-D scans to help craft the likeness of Tasmanian models in his purpose-built foundry. This work is of a young woman accused of stealing cattle.

"It sounds sort of stupid but I talk to the sculptures, I live with them and I have this thing that I really believe that I know them as the process happens, so you get very emotional," he said.

Four sculptures are installed on Hobart's historic Macquarie Wharf — the arrival point for many women and children who came to Van Diemen's Land. Each tells a different story of the hardship of life for women and children in the penal colony.

President Michael D Higgins at the unveiling ceremony said the women were to be admired.
"The crimes for which they were transported were often petty crimes, it would seem now — the theft of food or a few coins, a watch or shawl stolen to try to sustain a starving family — desperate acts of destitute individuals," he said.

Smith Colvin 1911-1977view full entry

Reference: see The Collector
July 19, 2020, 7:00 PM AEST
Murrumbeena, Australia
Timed Auction, lot 76, Colvin Smith (1911-1977) Framed Oil Painting - Tamar River from Low Head, Tasmania, June 1947 - Signed lower right, titled & dated verso - image size 19x24cm HxW, frame size 29x34cm

Lai James view full entry

Reference: Day Gallery exhibition, July, 2020:
James Lai BIO
Sydney-based landscape painter, James Lai creates contemporary semi abstract landscape works using his distinctive inventive and primitive style.
"Inspired by the multi-faceted Australian landscape, from its majestic mountain ranges and valleys to the rugged rural country, I find a constant urge to portray nature in its raw beauty and with its sense of freedom with paint. Painting in a semi abstract style allows me to express my interpretation of the unique elements and nuances that can be found in every landscape scene. My works are created with a strong focus on vision, the process of abstraction, colour palette and striking a fine balance between technical and emotion."
James was a finalist in the 2020 Alice and Lethbridge art prizes; and the 2019 Paddington, Hornsby, Hawkesbury and Blacktown City art prizes.
Publishing details: Day Gallery
27-29 Govetts Leap Rd | Blackheath | NSW
Ref: 1000

Johnstone O’Shannessy & Co Artist Photographersview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 photography catalogue,
Miss Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw.
[Title from inscription on accompanying window mount]. [Melbourne. January, 1869]. Albumen print photograph overpainted in oils, carte de visite format, 102 x 62 mm (mount), verso with imprint of ‘Johnstone, O’Shannessy & Co., Artist Photographers, 3 Bourke St. East, Next the Post Office, Melbourne’; the print, including the overpainted sections, is in fine condition, while the mount has some light foxing to the verso; [together with] the carte’s original window mount bearing the nineteenth century inscription ‘Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw’.
A superb example of a colonial overpainted photographic portrait, done for a Melbourne society wedding at St. Peter’s Church of England in East Melbourne in the summer of 1868-69 by one of the city’s most exclusive studios. The overpainting was executed by a highly skilled colourist: the subtle “overstrokes” suggesting the folds and pleats on the bridesmaids’ dresses add a three-dimensional quality to the image.
For biographical information on the possible colourist, see the entry on James Waltham Curtis on DAAO.
From the marriage notices in The Argus, Melbourne, 7 January 1869: MARRIAGE. McGAW—McNEILL. —On the 6th inst., at St. Peter’s Church, by the Rev. H. H. P. Handfield, J. McGaw, Esq., of Burrabogie, New South Wales, to Frances Hayden, daughter of the late Hugh McNeill, Esq., of Annavale, County Antrim, Ireland.
From birth notices in The Argus, Melbourne, 4 June 1870: McGAW.—On the 2nd inst., at 7 Royal-terrace, Nicholson-street, the wife of J. McGaw, Esq., Burrabogie Station, N.S.W., of a daughter.

Curtis James Waltham view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Miss Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw.
[Title from inscription on accompanying window mount]. [Melbourne. January, 1869]. Albumen print photograph overpainted in oils, carte de visite format, 102 x 62 mm (mount), verso with imprint of ‘Johnstone, O’Shannessy & Co., Artist Photographers, 3 Bourke St. East, Next the Post Office, Melbourne’; the print, including the overpainted sections, is in fine condition, while the mount has some light foxing to the verso; [together with] the carte’s original window mount bearing the nineteenth century inscription ‘Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw’.
A superb example of a colonial overpainted photographic portrait, done for a Melbourne society wedding at St. Peter’s Church of England in East Melbourne in the summer of 1868-69 by one of the city’s most exclusive studios. The overpainting was executed by a highly skilled colourist: the subtle “overstrokes” suggesting the folds and pleats on the bridesmaids’ dresses add a three-dimensional quality to the image.
For biographical information on the possible colourist, see the entry on James Waltham Curtis on DAAO.
From the marriage notices in The Argus, Melbourne, 7 January 1869: MARRIAGE. McGAW—McNEILL. —On the 6th inst., at St. Peter’s Church, by the Rev. H. H. P. Handfield, J. McGaw, Esq., of Burrabogie, New South Wales, to Frances Hayden, daughter of the late Hugh McNeill, Esq., of Annavale, County Antrim, Ireland.
From birth notices in The Argus, Melbourne, 4 June 1870: McGAW.—On the 2nd inst., at 7 Royal-terrace, Nicholson-street, the wife of J. McGaw, Esq., Burrabogie Station, N.S.W., of a daughter.

Blaxland Louisa Australia sketcherview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
[Title from inscription verso]. Albumen print photograph, carte de visite format, 95 x 62 mm (mount); verso with imprint of Plumridge & Barnes, 158 Regent St., London W,, and fully contemporary inscription in pencil identifying the sitter as Louisa Australia Blaxland, late of Newington; both the albumen print and mount are in fine condition.
Possibly the only surviving photographic portrait of Louisa Australia Blaxland (1807-1888), daughter of explorer John Blaxland. It was taken during her visit to England in 1863, soon after the Blaxland family home, Newington House, had been sold by her brother Edward. (Newington became the first home of Newington College, which opened its doors in July, 1863; much later, it would become part of the Silverwater Correctional Complex).
From DAAO:
‘A member of the aristocratic Blaxland family, Louise Australia was the sixth of 11 children, acquiring her middle name as the first ‘native’ born child after her parents emigration. Despite being encouraged to sketch by her mother, none of her drawings survive, indeed Blaxland is best known for her unsuccessful petition to have Newington, her family home at Parramatta, turned into a public memorial.
[Louisa, a] sketcher, acquired her middle name by being native born – at the Blaxland family home, Newington, Parramatta, on 22 May 1807, soon after her parents, John and Harriott Blaxland, had arrived in New South Wales. She was the sixth of 11 children. Mrs Blaxland encouraged all six daughters to collect and sketch flowers. Emily Manning recorded one of these sketching excursions taken in the company of Louisa and her sister Jane when she stayed at Newington in 1837. Louisa Blaxland never married. Her role in life was to remain at Newington and look after her parents. In 1863, well after both had died, she made her first visit to Britain, Newington having been sold the previous year by her brother Edward, who had inherited the property when their mother died. Louisa regretted the loss of her family home all her life and in 1880 petitioned the New South Wales government to turn it into a public memorial to her father. Instead, it was later renamed Silverwater and converted into a minimum security prison under the control of the New South Wales Department of Corrective Services.
Louisa Blaxland died at Parramatta on 2 August 1888. Some of her letters and her record of John Blaxland’s dying reminiscences of his early life survive in the Blaxland family papers (ML). No extant drawings have been identified.’
Read More

Plumridge & Barnes photographersview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
[Title from inscription verso]. Albumen print photograph, carte de visite format, 95 x 62 mm (mount); verso with imprint of Plumridge & Barnes, 158 Regent St., London W,, and fully contemporary inscription in pencil identifying the sitter as Louisa Australia Blaxland, late of Newington; both the albumen print and mount are in fine condition.
Possibly the only surviving photographic portrait of Louisa Australia Blaxland (1807-1888), daughter of explorer John Blaxland. It was taken during her visit to England in 1863, soon after the Blaxland family home, Newington House, had been sold by her brother Edward. (Newington became the first home of Newington College, which opened its doors in July, 1863; much later, it would become part of the Silverwater Correctional Complex).
From DAAO:
‘A member of the aristocratic Blaxland family, Louise Australia was the sixth of 11 children, acquiring her middle name as the first ‘native’ born child after her parents emigration. Despite being encouraged to sketch by her mother, none of her drawings survive, indeed Blaxland is best known for her unsuccessful petition to have Newington, her family home at Parramatta, turned into a public memorial.
[Louisa, a] sketcher, acquired her middle name by being native born – at the Blaxland family home, Newington, Parramatta, on 22 May 1807, soon after her parents, John and Harriott Blaxland, had arrived in New South Wales. She was the sixth of 11 children. Mrs Blaxland encouraged all six daughters to collect and sketch flowers. Emily Manning recorded one of these sketching excursions taken in the company of Louisa and her sister Jane when she stayed at Newington in 1837. Louisa Blaxland never married. Her role in life was to remain at Newington and look after her parents. In 1863, well after both had died, she made her first visit to Britain, Newington having been sold the previous year by her brother Edward, who had inherited the property when their mother died. Louisa regretted the loss of her family home all her life and in 1880 petitioned the New South Wales government to turn it into a public memorial to her father. Instead, it was later renamed Silverwater and converted into a minimum security prison under the control of the New South Wales Department of Corrective Services.
Louisa Blaxland died at Parramatta on 2 August 1888. Some of her letters and her record of John Blaxland’s dying reminiscences of his early life survive in the Blaxland family papers (ML). No extant drawings have been identified.’
Read More

Nelson William photographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
[Bathurst] : William Nelson, [1870-71]. Albumen print photograph, carte de visite format, 100 x 60 mm (mount); recto with partial photographer’s imprint ‘William Nelson’ at lower margin; verso blank; the albumen print is a little pale and has some mottling in the negative; the mount has been trimmed at bottom edge and corners.
This important rugby photograph dates to the very earliest period of the game in Australia, and is quite possibly a unique survivor. Taken in the Bathurst studio of William Nelson some time around 1870-71, it is a full-length portrait of two young men – probably aged around 16 or 17 – dressed in their rugby playing gear. One of them holds a round ball (the oval ball had not yet been introduced in Australia). We are confident in identifying them as Edmund Tom Webb (born 1855-1925) and his cousin, William Henry Webb (1854-1932), who played rugby at Newington College in Sydney, where they were boarders. Edmund Tom was the eldest son of Bathurst merchant Edmund Webb (1830-1899), and William Henry – who had also grown up in Bathurst – was the eldest son of Edmund’s brother, Thomas Geake Webb (1827-1879), of Springfield Station. The boys’ mothers were also sisters: Edmund Tom’s mother was Selina Jane Jones Tom (1835-1929) and William Henry’s mother was Emma Fletcher Tom (1833-1872). The quartered sporting caps the lads are wearing almost certainly have the famous black-and-white colours of Newington College.
The bottom edge of this William Nelson carte de visite was trimmed by the original owner so that the carte could fit neatly into an album window mount, resulting in the loss of the second line of the photographer’s imprint in the lower margin, with the words ‘Photographic Artist, Bathurst’. The full imprint as it appeared on Nelson’s cartes de visite can be seen in two other examples in the State Library of Victoria (H2005.34/1997A).
According to Davies & Stanbury (The Mechanical Eye in Australia) William Nelson operated his photographic studio in William Street, Bathurst from 1868 until 1871. A notice in the Australian Town and Country Journal, on 11 December 1874, recorded the death of ‘William Nelson, photographic artist, at his residence, William Street’.
Newington College, on the banks of the Parramatta River in Sydney’s west, was established as a Methodist boarding school for boys in 1863. One of the school’s founding benefactors was wealthy Bathurst merchant Edmund Webb (1830-1899), whose sons Edmund Tom and Sidney William (born 1859) both attended the college, along with their cousin William Henry and his younger brothers.
Edmund Webb was the owner of the highly successful Bathurst clothing firm Webb & Co., and served as Member for West Macquarie in the Legislative Assembly in 1869-74. As a devout Methodist, he was generous in his financial support for the establishment of Newington College (the school’s Edmund Webb House is named in his honour). He was a passionate supporter of both football (rugby) and cricket. At Newington, his eldest son Edmund Tom and his nephew William Henry both excelled at sport, in particular William, who was a star all-rounder for the Newington College First XI in 1869-70. In a match played in May 1870 he demolished the batting lineup of arch-rivals The King’s School, capturing 7 wickets for 5 runs, as King’s were dismissed for just 18. William was also an excellent marksman, winning prizes in Cadet rifle matches.
Newington’s first headmaster, George Metcalfe, who had previously taught at Melbourne Grammar School, introduced the game of Australian Rules to the boys: this was actually the form of football that was played at the school during the 1860s. By the end of the decade, however, Newington had switched to the code of rugby, probably through the influence of the English sports master Joseph Coates. In 1869 it became the first Australian school to play competitive rugby football when it played a match against the University of Sydney (the oldest Australian club, formed around 1865). A few years later, in 1874, Newington played in the inaugural Sydney club competition, alongside the Sydney University Football Club, the Balmain Rugby Union Football Club, and The King’s School.
Their enthusiasm for the game resulted in talented cousins Edmund Tom and William Henry Webb – whom we believe are the subjects in this carte de visite – bringing rugby to the Central West of New South Wales.
‘Rugby was introduced to Bathurst in about 1870, possibly by E. T. and W. H. Webb, who played it at Newington College in Sydney. It began in an organised way from 1874 with the formation of the Bathurst Football Club.’ (Museum of Australian Democracy).
Rugby in Australia in the 1860s and the early 1870s was in its embryonic phase, and was a vastly different game to the one we are familiar with today. It was played with a round ball and was something of a hybrid between what we have come to know as Rugby Union and Australian Rules. Contests were of longer duration, and tended to be slow-moving, epic struggles for possession of the ball.
The following match report of a game between Newington College and the Waratah Club was published in The Cumberland Mercury (Parramatta), on 4 September 1875. It gives a very good insight into how at this time the game resembled more a test of stamina that moved at glacial speed, than a free-flowing spectacle:
‘FOOTBALL. Last Saturday afternoon a match was played at Newington between the Waratah club and Newington College. The sides were evidently well matched, and when half-time was called after an hour’s hard play, neither side had gained any advantage. When play was resumed, Kelly worked his men up, determined to score a goal; but they were met by Baly and his boys in the same spirit, and some fine play was the result. The ball was kept pretty well about the centre of the ground; occasionally it was worked up in close proximity to the goal posts. Time was called at 5.30, and after playing for two hours the game was drawn. No goal was scored, not even a touch down was made … There were no disputes, and both teams left the ground well pleased with the afternoon’s work. After the usual amount of cheering, the Waratah men were invited to tea by the president. The names of the players are: Waratahs: Butler, Palmer, backs; Bowman, Thallon, half-backs; Kelly, captain; Sherwin, Payton, Robertson, Hayman, Beal, Brodie, Himwood, Bether, Thallon, Jones, forwards; Newington College: F. Baly (captain, back); Dean, Evans, half-backs; A. Fletcher, Warden, quarter-backs; W.H. Fletcher, Baly, Webb [presumably Edmund’s younger brother Sidney or William’s younger brother Charles], Wheatley, Martin, Palmer, Waterhouse, Bradridge, McKenna, Readford, forwards. The same afternoon the second Newington College Team played the local club, at Hunter’s Hill, winning very comfortably with two goals to their credit. Devick lead the Hunter’s Hill men, and Bell the College players. After the game was finished, the Newingtonians were feasted with Oranges in Mr. Palser’s garden. After justice had been done to the fruit, Bell called his men together, and gave three cheers for Mr. and Mrs. Palser.’

Caire N Jview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
The Melbourne-based photographer, N. J. Caire (1837-1918) worked extensively in regional Victoria, but particularly in Gippsland, where he documented the landscape, Indigenous people and European settlement with his camera. Between the late 1870s and late 1880s Caire produced a number of commercial portfolios of Victorian scenes; the double-sided mount we offer here originally formed part of one of these.

Dalton’s Royal Photographic Galleryview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
I. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 60 x 92 mm (print); verso with imprint of ‘Dalton’s Royal Photographic Gallery, 320 George Street, Sydney’, and three fully contemporary inscriptions: the first, in pencil, reads ‘Woolloomooloo Bay’, with the second immediately below it, also in pencil, ‘Vue de Sidney prise du parc’, and a third at the foot, in ink, ‘Une vue de Sidney, prise de Hide-parc [sic]. Australie’; a few tiny ink spots scattered in the lower left corner of the image, otherwise both the albumen print and mount are in superb condition.
II. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 58 x 92 mm (print); verso without imprint, but with two fully contemporary inscriptions: the first, in pencil, reads ‘Une vue du Port-Jakson’, with the second immediately below it, in ink, ‘Une vue du Port-Jakson. Sidney- Australie’; print and mount superb.
The first view, with the Dalton’s back mark, is oriented to the southeast and looks from the foreshore at the bottom of The Domain directly into the already high-density labyrinth of streets and lanes of Woolloomooloo and East Sydney, which is overlooked by a long, newly built terrace in Victoria Street on the skyline at upper left. The photograph is quite remarkable for the number of streetscapes and amount of architectural detail it records. We have not been able to locate another example of this highly significant view, which, judging by how built-up the area is, probably dates to the latter end of the period 1863-64 (the only years in which Dalton’s Gallery was at the 320 George Street address). It is possibly related to two cartes de visite in the Mitchell Library, View of Woolloomooloo (i.e. Woolloomooloo Bay) (SPF/751) and Domain & Woolloomooloo Bay (SPF/971).
The second view, without back mark, looks across Woolloomooloo Bay towards Potts Point from The Domain, about half way along Mrs. Macquarie’s Point. The French visitor’s identification of the location as Hyde Park rather than The Domain is clearly incorrect, but understandable.Again, we have not been able to locate another example of this view.
According to Davies & Stanbury (The Mechanical Eye), Edward Dalton’s Royal Photographic Gallery – ‘W. Bradley, Operator’ – was located at 320 George Street in the years 1863-64. This statement of William Bradley’s role at Dalton’s is corroborated by newspaper advertisements from later in the 1860s, when Bradley was branching out in business under his own name. In one that appeared in The Sydney Morning Herald on 8 February 1868, for example, Bradley claims to have been ‘for 6 years sole photographer at Dalton’s’. Bradley had joined Dalton’s in 1863, taking over as operator from his mother’s second husband, Oswald Allen, who had left in 1862. Bradley’s mother, Eliza Allen, worked for Dalton as a colourist and miniature painter at the same time her son was managing the studio.
Although only one of the two cartes we offer here – the view of Woolloomooloo – has the Dalton’s back mark, we believe the other – of Potts Point from The Domain – is attributable to the same studio (and thus also to William Bradley), for several reasons: the two photographs were taken from spots only a few hundred metres apart, on the same stretch of harbour foreshore; the clothing worn by the male figure in the foreground of the Potts Point view is consistent with an early 1860s dating; the square-cornered mounts are cut from the same type of white card and are identical in size, and the albumen prints conform to exactly the same dimensions, with the same margin width on each mount; the inscriptions on the backs are in the same hand, which indicates the pair is likely to have been purchased by the same person, probably at the same time (presumably from Dalton’s Gallery); and the pair were acquired from the same source in France, where they had almost certainly been kept together for over 150 years.

Dalton Edward Royal Photographic Gallery – ‘W. Bradley, Operator’ view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
I. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 60 x 92 mm (print); verso with imprint of ‘Dalton’s Royal Photographic Gallery, 320 George Street, Sydney’, and three fully contemporary inscriptions: the first, in pencil, reads ‘Woolloomooloo Bay’, with the second immediately below it, also in pencil, ‘Vue de Sidney prise du parc’, and a third at the foot, in ink, ‘Une vue de Sidney, prise de Hide-parc [sic]. Australie’; a few tiny ink spots scattered in the lower left corner of the image, otherwise both the albumen print and mount are in superb condition.
II. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 58 x 92 mm (print); verso without imprint, but with two fully contemporary inscriptions: the first, in pencil, reads ‘Une vue du Port-Jakson’, with the second immediately below it, in ink, ‘Une vue du Port-Jakson. Sidney- Australie’; print and mount superb.
The first view, with the Dalton’s back mark, is oriented to the southeast and looks from the foreshore at the bottom of The Domain directly into the already high-density labyrinth of streets and lanes of Woolloomooloo and East Sydney, which is overlooked by a long, newly built terrace in Victoria Street on the skyline at upper left. The photograph is quite remarkable for the number of streetscapes and amount of architectural detail it records. We have not been able to locate another example of this highly significant view, which, judging by how built-up the area is, probably dates to the latter end of the period 1863-64 (the only years in which Dalton’s Gallery was at the 320 George Street address). It is possibly related to two cartes de visite in the Mitchell Library, View of Woolloomooloo (i.e. Woolloomooloo Bay) (SPF/751) and Domain & Woolloomooloo Bay (SPF/971).
The second view, without back mark, looks across Woolloomooloo Bay towards Potts Point from The Domain, about half way along Mrs. Macquarie’s Point. The French visitor’s identification of the location as Hyde Park rather than The Domain is clearly incorrect, but understandable.Again, we have not been able to locate another example of this view.
According to Davies & Stanbury (The Mechanical Eye), Edward Dalton’s Royal Photographic Gallery – ‘W. Bradley, Operator’ – was located at 320 George Street in the years 1863-64. This statement of William Bradley’s role at Dalton’s is corroborated by newspaper advertisements from later in the 1860s, when Bradley was branching out in business under his own name. In one that appeared in The Sydney Morning Herald on 8 February 1868, for example, Bradley claims to have been ‘for 6 years sole photographer at Dalton’s’. Bradley had joined Dalton’s in 1863, taking over as operator from his mother’s second husband, Oswald Allen, who had left in 1862. Bradley’s mother, Eliza Allen, worked for Dalton as a colourist and miniature painter at the same time her son was managing the studio.
Although only one of the two cartes we offer here – the view of Woolloomooloo – has the Dalton’s back mark, we believe the other – of Potts Point from The Domain – is attributable to the same studio (and thus also to William Bradley), for several reasons: the two photographs were taken from spots only a few hundred metres apart, on the same stretch of harbour foreshore; the clothing worn by the male figure in the foreground of the Potts Point view is consistent with an early 1860s dating; the square-cornered mounts are cut from the same type of white card and are identical in size, and the albumen prints conform to exactly the same dimensions, with the same margin width on each mount; the inscriptions on the backs are in the same hand, which indicates the pair is likely to have been purchased by the same person, probably at the same time (presumably from Dalton’s Gallery); and the pair were acquired from the same source in France, where they had almost certainly been kept together for over 150 years.

Bradley W operator of Dalton Edward Royal Photographic Gallery view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
I. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 60 x 92 mm (print); verso with imprint of ‘Dalton’s Royal Photographic Gallery, 320 George Street, Sydney’, and three fully contemporary inscriptions: the first, in pencil, reads ‘Woolloomooloo Bay’, with the second immediately below it, also in pencil, ‘Vue de Sidney prise du parc’, and a third at the foot, in ink, ‘Une vue de Sidney, prise de Hide-parc [sic]. Australie’; a few tiny ink spots scattered in the lower left corner of the image, otherwise both the albumen print and mount are in superb condition.
II. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 58 x 92 mm (print); verso without imprint, but with two fully contemporary inscriptions: the first, in pencil, reads ‘Une vue du Port-Jakson’, with the second immediately below it, in ink, ‘Une vue du Port-Jakson. Sidney- Australie’; print and mount superb.
The first view, with the Dalton’s back mark, is oriented to the southeast and looks from the foreshore at the bottom of The Domain directly into the already high-density labyrinth of streets and lanes of Woolloomooloo and East Sydney, which is overlooked by a long, newly built terrace in Victoria Street on the skyline at upper left. The photograph is quite remarkable for the number of streetscapes and amount of architectural detail it records. We have not been able to locate another example of this highly significant view, which, judging by how built-up the area is, probably dates to the latter end of the period 1863-64 (the only years in which Dalton’s Gallery was at the 320 George Street address). It is possibly related to two cartes de visite in the Mitchell Library, View of Woolloomooloo (i.e. Woolloomooloo Bay) (SPF/751) and Domain & Woolloomooloo Bay (SPF/971).
The second view, without back mark, looks across Woolloomooloo Bay towards Potts Point from The Domain, about half way along Mrs. Macquarie’s Point. The French visitor’s identification of the location as Hyde Park rather than The Domain is clearly incorrect, but understandable.Again, we have not been able to locate another example of this view.
According to Davies & Stanbury (The Mechanical Eye), Edward Dalton’s Royal Photographic Gallery – ‘W. Bradley, Operator’ – was located at 320 George Street in the years 1863-64. This statement of William Bradley’s role at Dalton’s is corroborated by newspaper advertisements from later in the 1860s, when Bradley was branching out in business under his own name. In one that appeared in The Sydney Morning Herald on 8 February 1868, for example, Bradley claims to have been ‘for 6 years sole photographer at Dalton’s’. Bradley had joined Dalton’s in 1863, taking over as operator from his mother’s second husband, Oswald Allen, who had left in 1862. Bradley’s mother, Eliza Allen, worked for Dalton as a colourist and miniature painter at the same time her son was managing the studio.
Although only one of the two cartes we offer here – the view of Woolloomooloo – has the Dalton’s back mark, we believe the other – of Potts Point from The Domain – is attributable to the same studio (and thus also to William Bradley), for several reasons: the two photographs were taken from spots only a few hundred metres apart, on the same stretch of harbour foreshore; the clothing worn by the male figure in the foreground of the Potts Point view is consistent with an early 1860s dating; the square-cornered mounts are cut from the same type of white card and are identical in size, and the albumen prints conform to exactly the same dimensions, with the same margin width on each mount; the inscriptions on the backs are in the same hand, which indicates the pair is likely to have been purchased by the same person, probably at the same time (presumably from Dalton’s Gallery); and the pair were acquired from the same source in France, where they had almost certainly been kept together for over 150 years.

Duryea Townsendview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
HOOD, John 1839-1924, colourist
Albumen print photograph overpainted in oils, 123 x 116 mm, laid down on its original wood mount; in fine condition; unfortunately the original frame is now lost, the back of which, according to the previous owner, bore the printed label of the photographic studio of Townsend Duryea, 66 & 68 King William Street, Adelaide.
The painter (and later photographer) John Hood worked as an artist and retoucher for the London photographic firm of Elliott and Fry before accepting a contract to work as a colourist for the renowned American-born Adelaide photographer, Townsend Duryea. Hood arrived in Adelaide in 1863.
The unidentified lady in this magnificent overpainted portrait was undoubtedly the wife (she wears a wedding ring) of one of Adelaide’s prominent citizens of the 1860s. She wears a mourning dress and bonnet with black ribbons, and her facial expression is one of deep melancholy. Her bottle curls and dress suggest a date prior to 1865. It is possible that the sitter, who appears to be in her mid 40s, is in mourning for a daughter: in her left hand she holds a tortoise shell comb, perhaps a memento of her dearly beloved child.
The quality of the painting is typical of Hood’s work and rivals, for example, the finesse evident in his overpainted Duryea photograph of Sir Thomas Elder held in the collection of the Art Gallery of South Australia (see MILLER, Steven. Dogs in Australian Art, p 22).
(attributed); DURYEA, Townsend 1823-1888, photographer (attributed)

Hood John 1839-1924 colouristview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
HOOD, John 1839-1924, colourist
Albumen print photograph overpainted in oils, 123 x 116 mm, laid down on its original wood mount; in fine condition; unfortunately the original frame is now lost, the back of which, according to the previous owner, bore the printed label of the photographic studio of Townsend Duryea, 66 & 68 King William Street, Adelaide.
The painter (and later photographer) John Hood worked as an artist and retoucher for the London photographic firm of Elliott and Fry before accepting a contract to work as a colourist for the renowned American-born Adelaide photographer, Townsend Duryea. Hood arrived in Adelaide in 1863.
The unidentified lady in this magnificent overpainted portrait was undoubtedly the wife (she wears a wedding ring) of one of Adelaide’s prominent citizens of the 1860s. She wears a mourning dress and bonnet with black ribbons, and her facial expression is one of deep melancholy. Her bottle curls and dress suggest a date prior to 1865. It is possible that the sitter, who appears to be in her mid 40s, is in mourning for a daughter: in her left hand she holds a tortoise shell comb, perhaps a memento of her dearly beloved child.
The quality of the painting is typical of Hood’s work and rivals, for example, the finesse evident in his overpainted Duryea photograph of Sir Thomas Elder held in the collection of the Art Gallery of South Australia (see MILLER, Steven. Dogs in Australian Art, p 22).
(attributed); DURYEA, Townsend 1823-1888, photographer (attributed)

Bock Alfredview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
The photographer, Alfred Bock, was the son of the convict engraver and pioneer photographer Thomas Bock. He was active at his 140 Elizabeth Street premises between 1858 and 1867. Bock later moved to Victoria, where he operated a studio in Sale, Gippsland.

Short William photographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Beautiful young woman in a fine dress and black lace shawl. Melbourne, 1863-65.
Albumen print photograph, carte de visite format, 103 x 62 mm (mount), verso imprinted ‘William Short & Co. Photographic Academy of Fine Arts. 41, Collins St. West, Melbourne’; the print has lovely rich tones and is in very good condition (there is a faint spot of toning at the top of the ornamental ewer); the mount was clipped at the bottom corners by the original owner to make it easier to remove it from its window mount.
A wonderfully lit and composed studio portrait of a photogenic young woman from Melbourne’s cosmopolitan post-gold rush elite. The photograph has an exceptional amount of detail, especially in the breathtaking lace shawl, but also in the ruffles of the silk dress, and the woman’s lovely countenance and ringleted coiffure. Her wedding band is clearly visible and prominent (probably made so at the photographer’s instigation), but note that she wears it on her right ring finger, which is perhaps a clue to her ethnic or religious background (Spanish? Catholic?).

Angas George Frenchview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Native Swing; War Dance [before the Pah of Oinemutu near Roturua Lake]

[Titles from captions on mounts]. Circa 1875. Two albumen print photographs of lithographic illustrations, 102 x 63 mm / 63 x 102 mm (mounts), versos wet stamped ‘J. Low, Photographer. Waikato N.Z.’ and with fully contemporary captions in pencil; the prints and mounts are in very good condition.
This pair of carte de visite photographs were part of a series sold as souvenirs of Māori culture by Scottish-born John Low (1847-1895) from his photographic studio in the small Waikato township of Ngaruawahia, which he opened in 1874. They are photographs of works by George French Angas which were published as one of the lithographed plates in The New Zealanders Illustrated (London, 1847).
Provenance: from a family photograph album compiled by a female member of the family of John Sperry (1829-1890), Lands Commissioner, who was the father of New Zealand artist Eleanor Kate Sperry (1862-1893).

Low John pghotographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Native Swing; War Dance [before the Pah of Oinemutu near Roturua Lake]

[Titles from captions on mounts]. Circa 1875. Two albumen print photographs of lithographic illustrations, 102 x 63 mm / 63 x 102 mm (mounts), versos wet stamped ‘J. Low, Photographer. Waikato N.Z.’ and with fully contemporary captions in pencil; the prints and mounts are in very good condition.
This pair of carte de visite photographs were part of a series sold as souvenirs of Māori culture by Scottish-born John Low (1847-1895) from his photographic studio in the small Waikato township of Ngaruawahia, which he opened in 1874. They are photographs of works by George French Angas which were published as one of the lithographed plates in The New Zealanders Illustrated (London, 1847).
Provenance: from a family photograph album compiled by a female member of the family of John Sperry (1829-1890), Lands Commissioner, who was the father of New Zealand artist Eleanor Kate Sperry (1862-1893).

Suchomlin John 1886-1974 (artistview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Pinch of poverty modelled in sand by J. Suchomlin. Manly 1931.
SUCHOMLIN, John (1886-1974) (artist); [Photographer unknown]
[Title from inscription in negative]. Gelatin silver print photograph, printed on Kodak Austral card stock, 84 x 137 mm, artist’s handwritten notices in image lower right: ‘Pinch of poverty modelled in sand by J. Suchomlin. Manly 1931. This subject took me 6 weeks to complete. Only sand and sea water used.’; not postally used, in fine condition.
John [Jack] Suchomlin (1886-1974) was a Ukrainian artist who had studied in Germany before arriving in Adelaide as a political refugee in 1911. He became an Australian citizen in 1913 and married Elsie Mattingley. Between 1926 and 1940 he created stunning sand sculptures on Manly beach, Sydney, which were a popular tourist attraction. Appreciated by the public for their highly realistic qualities, Suchomlin’s works included life size sculptures of aviators Bert Hinkler and Amy Johnson, Biblical tableaux and his celebrated swimmers, some of which were used in advertisements for Jantzen swimming costumes. In the 1930s he also created sand sculptures on St Kilda beach, Melbourne, and at Margate, Brisbane. Pinch of poverty is one of Suchomlin’s most extraordinary works. The Wishing Well shelter at South Steyne beach was built by the Manly Council in 1929 at Suchomlin’s request, and was used by him for several years as a sand sculpture ‘gallery’. The original of Pinch of poverty was originally on display here. Now refurbished, the shelter is today adorned with aluminium reproductions of some of Suchomlin’s works.
Trove locates only two other examples (National Maritime Museum of Australia; Northern Beaches Libraries).
Read More

Watson John photographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Vignette portrait of a young man wearing a bow-tie. Brisbane, circa 1865.
Albumen print photograph, carte de visite format, 102 x 63 mm (mount), verso with imprint of ‘J. Watson, Photographic Artist. Queen Street, Brisbane’; both the albumen print and mount are in superb condition.
From DAAO: ‘John Watson, professional photographer, operated a photographic studio during the second half of 1855 in Edward Street, Brisbane, as a branch of Thomas Glaister ‘s Sydney firm. After disappearing from Queensland early the following year, he must have been the Watson in partnership with James Walker at Sydney in 1860-62. In 1862 John Watson returned to Brisbane, there to run a busy Queen Street studio in his own name until 1875. Watson’s Queensland Album of Photographic Scenery (John Oxley Library) was published in 1874.’

Printed on Stoneview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Melbourne Album Theview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Barnet Nahum architect p147view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Chevalier Nicholas p28 202 204view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

chromolithography 5 refsview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Cooper Edward - Troedel’s partnerview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Cogne Francois numerous referencesview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Gilks Edward p108 197 199view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

New South Wales Album 3 refsview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Osborne John Walter developer of photolithography in Victoriaview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

photolithography view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Punch Melbourneview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Melbourne Punch view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Streeton Arthur as apprenticeview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Troedel Walter Albertview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Troedel familyview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Turner Charles artist and illustrator p53 57 163view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Turner Charles artist and illustrator p53 57 163view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Young Blamire p163view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Wendel Richard numerous references - his work sometimes attributed to Robert Wendelview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Wendel Robert see Richard Wendell - Richard’s work sometimes attributed to Robert Wendelview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Whitmore Arthur James poster designed with Douglas Annand p93view full entry

Reference: see Crombie Isobel - Body Culture : Max Dupain, Photography and Australian Culture, 1919-1939
Publishing details: Pelus Press, NGV, 2004, card covers, 208pp

Meere Charles beach patterns and Freda Robertshaw view full entry

Reference: see Crombie Isobel - Body Culture : Max Dupain, Photography and Australian Culture, 1919-1939
Publishing details: Pelus Press, NGV, 2004, card covers, 208pp

Shipley Lieutenant Conway view full entry

Reference: see William Bunch Auctions & Appraisals, US, 29 July, 2020, lot 11785 Details
DESCRIPTION
Watercolor "Feejee Costumes" by Lieutenant Conway Shipley, a British Officer in the Royal Navy. Sketches he drew while on a voyage in the South Seas are now held in the Mitchell Library, State Library of New South Wales, Australia. Sketcher and travel writer, he entered the Royal Navy in 1837 and after distinguishing himself at the Royal Naval College was promoted lieutenant in 1845. In 1848 he served on the 18-gun Calypso during a voyage to various mission stations in the South Seas. In 1851 he published a narrative of the voyage, Sketches in the Pacific: The South Sea Islands , which included 25 coloured lithographs based on his own sketches. This specific sketch shows several different subjects with many details on materials used like tortoise shell and pearl.

Zahieros Miss art teacher c1890view full entry

Reference: see the Fourth Australiana Virtual Show and Tell Report, July 2020:
11 - 14. Four examples from a set of 35 painted scenes on white cards.
Late C19th. Artist – attributed to Lewis or Sophia Steffanoni. Size: 9 x 11.5 cm.
These were a gift to the owner’s husband’s grandfather, probably in the 1950s or 1960s. They appear to be water colour sketches, heightened with white. A couple of years ago the owner was reading an old copy of the Antique Collector magazine, 43rd edition, and came across an article titled Lewis Steffanoni by Annette Butterfield. It was obvious that the coloured photo on page 60 of that article illustrated sketches the same as these; the style, the size, writing of the titles and the centre image “Cathedral Rock, Kiama” is very similar to one above. The owner tried to contact Annette Butterfield but she was deceased.
In her article Butterfield wrote that the image she illustrated shows “examples of his art work for use within the illuminated addresses” that his firm “Reading, Steffanoni & Son” ran from their premises at 92-94 Market St Sydney. Lewis Steffanoni died in 1880, and it would seem from the article that his death marked the closure of the shop and the end of the production of illuminated addresses. However, his daughter Sophie Steffanoni (1873-1906), through the researches of Annette Butterfield (her great-niece) has now received recognition as a painter of note in her own right. The family items illustrated in the Antique Collector came from Butterfield’s family’s collection; it would be interesting to know whether these watercolour sketches are now thought to be by Lewis or Sophia, and whether they were in fact intended for use in illuminated addresses, or simply plein air sketches by a talented female artist.
POSTSCRIPT AT
24.7.2020 - Feedback Notes to Virtual Show and Tell Report
Number 4: Items 11-14 Were described as being by either Lewis or Sophia Steffanoni
14
One editor’s opinion, after reading their respective biographical articles in Design and Art
Australia online, is that the works are by Sophia and not her Father Lewis Steffanoni.

This is particularly supported by image 14 of Cathedral Rock, Kiama. The railway first arrived in North Kiama (now Bombo) in 1887 by which time Lewis was already deceased. Before that the journey would have taken some considerable time by road or boat and perhaps unlikely for Lewis to leave his day job at the SMH and his own business to travel down there? Sophia on the other hand travelled widely from Tasmania to Mount Kosciuszko. The view of Cathedral Rock Kiama is actually painted from Minnamurra, the train stop before Bombo.
It is also recorded that Sophia’s brother William would take her out in a small boat on Sydney Harbour and fish while she painted oil sketches of ferries, sailing boats and views of Circular Quay-all unusual subjects for women at the time (items 11-13). Her canvases had to be small as they had to be portable, being painted en plein air.

Her first lessons in oil painting were with a Miss Zahieros in 1890. In 1891 she won the prize
for water-colour painting at the National Juvenile Industrial Exhibition.
Three years later she became a pupil of Lister Lister (also Margaret Preston’s early teacher).
Sophia exhibited paintings from 1895 to 1903 with the Art Society and was included in its Federation Exhibition of 1901. She regularly sold her paintings at a good price, the equivalent of three times a labourer’s weekly wage.
The Bulletin spoke favourably of her work as did the newspaper critics. In 1903 her Paradise Hill, Blackheath was illustrated in the Sydney Mail.
One critic especially admired her sea pieces: 'The glint of sunlit waves and spray; the rich- hued rock ... are all painted with a hand that never errs’.
POSTSCRIPTS
SMH 15 Dec 1877
Sophia Elizabeth Steffanoni was named for her paternal grandmother who died 28 September 1877 age 69 at her residence, Douglas, Isle of Man, widow of Joseph Steffanoni formerly gold merchant and later of High Holborn London.
It’s interesting that Sophia’s Mother was a member of the Fairfax family which (via Lewis Steffanoni) ultimately led to the Fairfax’s family philanthropic association with AGNSW.

Campbell Steven (Scottish)view full entry

Reference: see MCTEAR'S, Glasgow, 16 August, 2020, lot 556:
STEVEN CAMPBELL (SCOTTISH 1953 - 2007), MASTER AND APPRENTICE, THE GREEN MAN oil on canvas, signed in pencil on stretcher verso 92cm x 61cm Framed. Note: Steven Campbell (born 1953 in Glasgow) worked as an engineer in a steelworks from 1970 to 1977 before studying at The Glasgow School of Art from 1978 to 1982. In 1982 he was awarded a Fulbright Scholarship and studied at the Pratt Institute in New York. He had highly successful shows in New York in 1983, which led to exhibitions in London and Edinburgh in 1984-5. He moved back to Glasgow in 1986. He was included in the exhibition The Vigorous Imagination: New Scottish Art in Edinburgh in 1987. He was Artist-in-Residence at the Art Gallery of New South Wales, Sydney in 1990. He showed frequently in London, Glasgow and Edinburgh from 1987 to 2004. He died in 2007 after a ruptured appendix.

Whiting Ada miniature artist view full entry

Reference: see Crow's Auction Gallery Ltd
July 29, 2020, 10:00 AM BST
Dorking, United Kingdom, lot 888:
FROM A PRIVATE PORTRAIT MINIATURE COLLECTION: Ada Whiting (Australian, 1859-1953), a portrait miniature of an 'Unknown Lady', initialled and dated 1907 recto lower left, inscribed verso under frame backing, watercolour, gold plated oval frame, 5" x 3½". Please note: Whiting exhibited at the Royal Academy and the Paris Salon between 1900 and 1934. Est: £200 - £400

Hudspeth Elizabeth English/Australian 1820-1858view full entry

Reference: see Schmidt's Antiques
July 25, 2020, 11:00 AM EST
Ypsilanti, MI, US. lot 138:
Elizabeth Hudspeth, English/Australian, 1820-1858. Pencil drawing on paper depicting the Bowsden shore. Signed verso "Hudspeth, Bowsden", with 1821 watermark on laid paper. Toning and some staining and creasing to paper, light wear around edges of sheet. Image is 9 x 16" h, sheet is 12 x 9 3/8" h, in a re-gilt wood frame with some damage, 22 3/4 x 19" high overall. ESTIMATE $400-600
Condition Report
Toning and some staining and creasing to paper, light wear around edges of sheet.

Tiesler Herbert Hans California Germany Australia Meyburgh1894 - 1975view full entry

Reference: see Broward Auction Gallery
August 9, 2020, 11:45 AM EST
Dania Beach, FL, US, lot 312:
ARTIST: Herbert Hans Tiesler (California, Germany, 1894 - 1975)
NAME: Richmond Ferry
MEDIUM: oil on canvas board
CONDITION: Very good. No visible inpaint under UV light.
SIGHT SIZE: 12 x 16 inches / 30 x 40 cm
FRAME SIZE: 18 x 22 inches / 45 x 55 cm
SIGNATURE: Lower right and on verso
CATEGORY: antique vintage painting
SKU#: 116340
WARRANTY: 7 days returns accepted if item doesn't match description

US Shipping $60 + insurance.

Herbert Tiesler (Germany, American, 1894 - 1975)
Seaman and artist Herbert Tiesler was born in the small town of Oels, Silesia, in what was then known as Eastern Prussia. He attended art school but "always had a longing for the sea" and in 1909 hired on for his first voyage as a deck boy on a roundtrip to England. Subsequent voyages took him to Australia and South America and, in 1914, he signed on as a seaman on the German four-mast bark HANS and sailed around Cape Horn to Santa Rosalia, Mexico.

Ramsay Francis Dennis 1925-2009view full entry

Reference: see DAWSONS AUCTIONEERS, UK, 30.7,20, lot 10: Francis Dennis Ramsay (1925-2009), British/Australian, a still life study of a book and wine bottle, with blue sky to the background, oil on board, dated 'LV' [1955], signed to lower left corner, 29 cm x 34 cm, glazed in a wooden frame.

De Garis Nicholas view full entry

Reference: see Martel Maides Auctions, UK, lot 2010, 4 Aug, 2020, Nicholas De Garis framed oil on canvas depicting Shothole Canyon, Australia. Estimate 20 - 30 GBP

Wyon J S & A B view full entry

Reference: Australia, Sydney International Exhibition 1879, large bronze medal by JS & AB Wyon, female with shield of arms holds aloft laurels, implements at feet, exhibition building in the background, rev. Australian flora around field,

Whiteley Brettview full entry

Reference: Brett Whiteley - Catalogue Raisonné : 1955 – 1992, by Kathie Sutherland.
[‘Compiled by art historian Kathie Sutherland over seven years, this seven-volume set of cloth-bound books is presented in a deluxe, elegantly finished slipcase and presents more than 4600 artworks, including hundreds of never-before-published works. Weighing 21 kilograms and totalling 2400 pages, this catalogue Brett Whiteley: Catalogue Raisonné 1955-1992 is an unprecedented publishing event that confirms Whiteley’s enduring significance as a visionary force of Australian art. Volumes I, III and IV hold paintings and drawings from the 1950s to the 1990s; Volume II contains exquisite concertina fold-outs of the mammoth Alchemy and The American Dream; Volume V contains Whiteley’s prints; and Volume VI compiles his ceramics and sculpture. A final book, Volume VII, holds essays, a cataloguing text, an exhibition history, an artist’s biography, a bibliography and an index of persistent themes that lend insightful form to the expanse of Whiteley’s rich and varied oeuvre. This one-off print release is limited to 1000 copies, with each individual set foiled with a unique number in the series and presented in bespoke packaging.’ – the publisher
Unique in the history of Australian art publishing, an extraordinary academic publication and truly the essential reference on one of Australia’s most significant artists.’]
Publishing details: Melbourne : Schwartz City, 2020. Seven volumes, quarto, lettered white cloth, in bespoke white lettered slipcase, over 2400 pages, fully illustrated. Limited to 1000 numbered copies. Housed in the publisher’s double walled mailing carton. The size of the slipcase is 225 mm tall, 403 mm wide, 203 mm deep.
Ref: 1000

Evergood Milesview full entry

Reference: Miles Evergood: Watercolours and Drawings. ‘This is our second exhibition of work by Miles Evergood.
In the current show, the watercolours focus mainly on still life and are most likely studio paintings; they exhibit the classic qualities of the discipline: fresh, clean colour and a brisk and lively spontaneity.
In the drawings, landscape predominates, the subjects being typical favourites of Australian artists in England at the time: the mountains of North Wales around Bettys y Coed, the Peak District at the southern end of the Pennines, and the ever-popular Corfe Castle - painted by artists as varied as Glover, Piguenit, Streeton and Herbert. All these drawings have the stamp of the plein-aire sketch potentially leading to a future studio painting, though no such examples were found for our first exhibition in 2015.

On a more practical note - all works are mounted but unframed, so can fairly simply be posted. They are all for sale on behalf of Gael Hammer, the artist's great-niece, and all prices are negotiable; this will be particularly relevant for anyone contemplating buying a group of drawings with the idea of forming a set of related examples.’
‘Born in 1871 in Carlton, Myer Blashki, eleventh child of Hannah and Phillip Blashki, (he was a noted silversmith), grew up in a traditional Jewish migrant family in a rapidly expanding Melbourne. After studies at the National Gallery School, and exhibiting at the VAS and the RAS in Sydney, he made an unusual move. Whilst virtually all his contemporaries were gravitating to London and Paris in 1898, he moved to San Francisco, and then to New York. He returned to Australia in the 1930s – first to Brisbane, then Sydney, and finally to Melbourne where he and his wife Polly bought a cottage called ‘Yosemite’ in Kalorama in 1938. He died unexpectedly in 1939.  Evergood exhibited his work with success in the US and was well connected to the Melbourne scene in the 30s – friends with Rupert Bunny, George Bell, James Quinn, and John Longstaff, among others, all of whom he had met at art school in Melbourne in the 1890s.  Castlemaine Gallery held a major retrospective exhibition in 1988.’
Publishing details: Charles Nodrum Gallery, 2020.
Ref: 1000

Claxton Marshallview full entry

Reference: see eBay listing 29.7.2020:
c1853-54 Original Oil Painting on Canvas, Titled "Mrs Agnes Nelson, Wife of Rev Dr William Lambie Nelson" attributed to Well Listed British/Australian Colonial Painter Marshall Claxton (1811-1881)
This Portrait is an Important part of Australian Colonial History and Local History of Toowoomba and Ipswich, Queensland
The Sitter, Agnes Nelson nee Muir (1810-1885), Wife of Rev. Dr William Lambie Nelson (1808-1887), Mother of Sir Hugh Muir Nelson (1833-1906). The Nelson Family arrived in the colony in 1853, most likely this portrait was painted just after their arrival c1853-1954.
The Artist, Marshall Claxton arrived in Sydney in September 1850, bearing a reputation as a portrait artist. Encourage by Sir Charles Nicholson, he began painting portraits in the colony. He left Australia in 1854.
Please see biographies below for the artist and Rev. Dr William Lambie Nelson

Image Size: 64x52 cm
Frame: 82x70 cm
Frame: Antique frame is in good Condition with some Wears and chips
It is Not Signed In the Panting, Attributed verso
A old typed label verso regarding the sitter and details of Rev. Dr William Lambie Nelson
OzWebCollectibles will issue a certificate of authenticity providing life time written guarantee
<Biography of the artist>
Marshall Claxton (12 May 1811 – 28 July 1881)
Born in Bolton, Lancashire, the son of a Wesleyan Methodist minister, the Rev. Marshall Claxton, and his wife Diana.
He studied under John Jackson, R.A., and at the Royal Academy school where he enrolled on 26 April 1831.
He had his first picture in the Royal Academy in 1832, a portrait of his father. In subsequent years about 30 of his pictures were shown at Academy exhibitions. In 1834 he was awarded the first medal in the painting school, and obtained the gold medal of the Society of Arts in 1835 for his portrait of Sir Astley Cooper. From 1837 to 1842 he worked in Italy and then returned to London, gaining a prize of £100 for his "Alfred the Great in the Camp of the Danes".
In 1850 Claxton went to Sydney, Australia, with a large collection of pictures, but had little success in selling them. While in Sydney he painted a large picture, "Suffer little children to come unto me", a commission from the Baroness Burdett-Coutts. This was described in Household Words as 'the first important picture' painted in Australia.[2]
In September 1854 Claxton left Sydney for Calcutta, where he sold several of his pictures. He returned to England in 1858 via Egypt, and died in London after a long illness on 28 July 1881.
He married and had two daughters, Adelaide and Florence Claxton, both of whom were artists and represented in Royal Academy exhibitions between 1859 and 1867.
Claxton's "General View of the Harbour and City of Sydney" is in the Royal collection in England, and there are two pictures by him in the Dickinson collection in the Art Gallery of New South Wales, Sydney. His portraits of Bishop William Broughton and Dean Cowper are at St. Paul's College, University of Sydney, and that of the Rev. Robert Forrest is exhibited at The King's School, Parramatta. His Godiva painting is in the Herbert Art Gallery and he also has work displayed at the Derby Art Gallery and the Victoria and Albert Museum.[1] He was also known for his depictions of Wesleyan and Methodist subjects, made popular as prints.
<Biography of the Sitter>
Rev Dr William Lambie Nelson (1808-1887)
Born 20 Sep 1808 in Kilmarnock, Ayrshire, Scotland, United Kingdom, Died 3 Jun 1887 in Southport, Queensland, buried at the Southport General Cemetery

Married Agnes Nelson, Nee Muir, 27 Oct 1827 in Gorbals, Lanark, Scotland

He migrated to Queensland in 1853, was the oldest Presbyterian minister in Queensland

He was for many years stationed at Toowoomba, and was one of the most learned divines in the colony

William Nelson was elected to the Queensland Legislative Assembly in the three-member electorate of West Moreton on 3 May 1860 in the inaugural 1860 Queensland colonial election. However, Mr Chubb on behalf of one of the unsuccessful candidates, Pollett Cardew, protested against the election of the Reverend Nelson as he was a priest in holy orders and was therefore disqualified from being elected, but the Rev. Nelson claimed that he had resigned his religious role.[3] On 22 June 1860, the Committee on Elections ruled that the Rev. Nelson was disqualified and a new election must be called to replace him. Joseph Fleming won the resulting by-election on 9 July 1860

His son, Sir Hugh Muir Nelson (1833-1906) went on to be Premier of Queensland from 27 October 1893 to 13 April 1898

Justin Miller Artview full entry

Reference: Justin Miller Art,Winter 2020, illustrated catalogue. Includes 42 works with some biographical information.
Publishing details: Justin Miller Art, 2020, pb, 45pp, with price list.
Ref: 133

Worth Margaretview full entry

Reference: see Justin Miller Art,Winter 2020, illustrated catalogue. Includes 42 works with some biographical information.
Publishing details: Justin Miller Art, 2020, pb, 45pp

Merrett Stewartview full entry

Reference: obituary in Sydney Morning Herald 30 July, 2020, p30. Applique artist.
Publishing details: 2
Ref: 138

Bergner Yosl (1920-2017view full entry

Reference: see Kedem Public Auction House Ltd
August 11, 2020, 5:00 PM IST
Jerusalem, Israel, lot 367:
Yosl Bergner (1920-2017), "An Angel for 70-year-old Shmulikl" (Yiddish).
Mixed media on paper. Titled and inscribed to Shmulik Segal (Yiddish), signed and dated 1994.
31X36 cm. Good condition. Framed; unexamined out of frame.
Provenance: The estate of Shmulik Segal.
-----------------
Yosl Bergner (1920-2017) was born in Vienna. His parents, singer Fanya Bergner and poet Melech Ravitch, were active in various cultural and intellectual circles, nurturing his creativity from a young age. In his youth he studied painting with artist Hirsch Altman in Warsaw, and at the age of seventeen immigrated with his sister to Australia, where he studied at the National Gallery of Victoria Art School in Melbourne. During World War II, he served in the Australian Army. After the war, he married artist and writer Audrey Bergner, and in 1950 the two immigrated to Israel. Bergner first settled in Safed, later moving to Tel-Aviv, where he lived and worked until his death at the age of 97.
Bergner was a prolific artist, working in various fields painting, book illustration and scenic and costume design. His multifaceted work, at times somber and at times bright, is inspired by surrealism and symbolism. Art critic Dr. Gideon Ofrat, in a tribute to Bergner published in the Erev Rav journal (January 2017), writes: "Ever since the paintings he made in the 1940s after the stories of Y.L. Peretz, Bergner never ceased telling us stories with his paintings. The stories of the Jewish sage, whose one eye is laughing while the other is weeping. Bergner never stopped telling the stories of the exiles, the expelled, the refugees, the seekers of the shore of Redemption [] Bergner repeatedly declared in his paintings: for the exiled wanderers these furniture, kitchen utensils, lanterns, etc. there is no safe haven; any safe haven is nothing but an existential illusion. And thus, in an endless desert [] and under the bleak sky, Bergner sentences humankinds Jews and non-Jews alike to what Y.H. Brenner calls 'exile everywhere' and 'an existence of thorns'" (Hebrew).

King-Smith Leahview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 catalogue:
Barak,
Type C photograph. 1020 x 1020 cm (image), in a black timber frame with Perspex by Chapman & Bailey. Number 3 from the first printing of the Patterns of connection series of 1991, printed in an unknown edition, the photographs not signed nor numbered, as issued. A second printing was completed in 2001 in an edition of 25 copies, signed and numbered verso.
Leah King Smith was the Stegley Foundation Koori photographer in residence, State Library of Victoria, 1990-91. She created her series of images Patterns of Connection utilising nineteenth century photographs of Aboriginal people housed in the Picture Collection of the Library. This arresting composition is based on a photograph of Aboriginal activist and leader William Barak holding aloft a pair of boomerangs at Coranderrk, Healesville, c.1900, by an unknown photographer. (call number H141205).
‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the othe … I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ – Leah King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7.
‘Leah King-Smith was born in Gympie, a Bigambul descendant who became a visual artist and lecturer in Brisbane. She studied fine arts and photography in the 1980s, and developed an interest in exploring issues of cultural discord in her art practice through her own family experiences. The 1991 series, Patterns of Connection, was developed after Leah was invited by the State Library of Victoria to select images for publication from the library’s collection of 19th century Aboriginal people. The photos produced in her several conflicting emotions: anger, resentment, powerlessness and guilt at the treatment of Aboriginal people in colonial Australia, together with ‘a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ She decided to adapt the photos to become a commentary on the colonial impact on Aboriginal culture.
In this series, King-Smith has superimposed archival images over her own photographs of the Victorian landscape. Parts of the image have been painted over, then the whole re-photographed and printed in large-scale Cibachrome. Her work was an attempt to recover Aboriginal people from the archives and reposition them in a positive, living, spiritual realm. She reunited figure and landscape to convey the importance of landscape to Aboriginal people, to reposition them in the foreground of their environment, with the negative connotations of mission, reserve and studio background pushed to the rear. ‘ Libby Stewart, Indigenous women artists: Leah King-Smith and Andrea Fisher, Museum of Democracy at Old Parliament House website, https://www.moadoph.gov.au/blog/Indigenous-women-artists-Leah-King-Smith-and-Andrea-Fisher/

Reference:
Patterns of connection : an exhibition of photo-compositions. [Melbourne] : Leah King-Smith, 1992
ENNIS, Helen. Photography and Australia, London, 2007, 44 (colour illus.). fig.22

Willis Gary b1949view full entry

Reference: The painter’s tongue : the life of an artist
Publishing details:
Melbourne : Gulag Publishing, 2020. Eleven volumes octavo (210 x 145 mm), pictorial stiff wrappers, perfect bound; pp 795, illustrated in colour and b/w; housed in publisher’s red slipcase. Edition limited to 10 signed and numbered sets
Ref: 1000

Youdale Joseph (1819-1911)view full entry

Reference: See Douglas Stewart Fine Books, July 2020 catalogue:
Portrait of a wealthy squatter, Manning River district, New South Wales, early 1870s.
Albumen print photograph, carte de visite format, 101 x 62 mm (mount), verso imprinted ‘J. Youdale, Photo., From Sydney’; the albumen print is in very good condition; the mount has some light foxing.
This portrait of an unidentified squatter wearing high riding boots and holding his stockwhip was taken by travelling photographer Joseph Youdale, possibly on Cooplacurripa Station near Nowendoc in the Manning River district.
A fascinating glimpse into the early career in Maitland of photographer Joseph Youdale can be read on the website Photographers of Maitland, 1845-1900
However, Youdale’s life took a turn for the worse in 1870 when he found himself heavily in debt and lost everything he owned. The following notice in Freeman’s Journal (Sydney) published on 24 December 1870 announced that Youdale had been declared insolvent: ‘Joseph Youdale, of West Maitland, photographic artist. Liabilities, £626, of which £500 is secured. Assets, £598. Mr. Humphery, official assignee.’
Youdale appears to have moved to Sydney a short time after this, but numerous newspaper notices from 1871 allude to the protracted dealings with his creditors that dragged on for many months.
By 1872 he appears to have put his bankruptcy behind him, and the next mention of him in the press finds him prospecting on the Manning River gold diggings. The following report was published in the Newcastle Chronicle on 1 February 1873:
‘MINING. Coupla Curripa. — Mr. Joseph Youdale has kindly furnished us with the following particulars respecting the diggings at Coupla Curripa, which will doubtless be read with interest by many of our readers, as this gentleman is well known on the Manning : —”There are about four hundred diggers on the ground, a great number of whom are practical miners. Thus the inexperienced profit by watching some of these miners working. There are some heavy undertakings at the present time, one of which is, the diverting the river from its bed with a view of working the same — that part which consisted of rock having to be blasted. This work has been greatly impeded by the late wet weather, but the miners are working at it again with a hearty good will. The area has been limited up to the present time, as nearly all the diggers confined their operations principally to Nuggety Gully, which is now nearly worked out, and as necessity is the “mother of discovery,” a number of the miners have been prospecting new localities within a mile of the present diggings, with a favourable result. Very little prospecting has hitherto been done. It is believed that there is a large quantity of gold in the bed of the river, which will be proved before long. A new place has been found known as King’s Creek, where a large number of diggers are now at work. Another creek, about one mile from Nuggety Gully, has been prospected with good results, and a large area of ground taken up. Nowendoc and the Mumble rivers are known to contain gold. There is a large extent of country between the two rivers, the distance being about twenty miles, which is looked upon as gold-bearing. The New Zealand party have made a race, and bring water a mile and a half for sluicing purposes. Coupla Curripa, at the present time, is to all intents and purposes a poor man’s diggings, as men can make very fair wages, but they must be prepared for hard work.” Mr. Youdale showed us a very nice specimen, weighing nearly an ounce, and a large quantity of smaller ones. This gentleman was on this gold field for about three months, and states that he has done very well. A party are out looking for a quartz reef, which is believed to exist somewhere in the neighbourhood of the above diggings. A great number of persons are still making their way to this goldfield, and there is also a number leaving. We have seen a private letter, which states that a few of the diggers are suffering from dysentery. Two diggers arrived in town on Monday last, and speak very indifferently about the diggings. Mr. Cleaver returned from the diggings last week, where he had taken a quantity of goods for sale. He gives a very unfavourable account of this goldfield. The reports at the present time are very conflicting. Nevertheless, it is an undoubted fact that some of the diggers are doing very well. — Manning River Times.’
The carte de visite we offer here was almost certainly taken by Youdale in the Manning River district around 1872-73. He was clearly continuing to work as a travelling photographer at this time: his back mark indicates no permanent studio location, but he instead advertises himself as being ‘from Sydney’. Presumably he had some luck on the Manning because he was soon able to open his own studio again in Sydney. Davies & Stanbury (The Mechanical Eye) list Youdale as a photographer at two different addresses (in Bourke Street, Surry Hills, and in George Street in the city) from 1874. His profession is still recorded as photographer when in September 1882 he married, at an advanced age, Elizabeth Latimer of Bega. The wedding was conducted at his residence in Crown Street, Surry Hills. Youdale later moved across the harbour and spent his last years in Mosman. Davies & Stanbury (ibid.) list him as a photographer at Wudgong Street, Mosman as late as 1898 (when he was in his late seventies!). He died at his residence in Belmont Road, Mosman in 1911 at the age of 92.

Wright John photographerview full entry

Reference: See Douglas Stewart Fine Books, July 2020 catalogue:
Overpainted photographic portrait of a beautiful young woman with ringlets. Ballarat, Victorian goldfields, circa 1865.
Albumen print photograph with hand colouring, carte de visite format, 103 x 64 mm (mount), verso with imprint of John Wright, Artist, Sturt Street, Ballarat; the watercolour tinting has some mild surface rubbing and fading and there is a tiny abrasion near the top of the drapes, but the gold of the sitter’s brooch, locket chain and wedding band is all intact; the mount is stable and clean (some insignificant toning spots).
In comparison to most tinted carte de visite portraits made by Australian studios in the 1860s and 1870s – the period when overpainting was most fashionable – the colouring on this example by John Wright’s Ballarat studio is quite extensive. The colourist has treated not only the beautiful young sitter’s velvet jacket and silk dress, but also her cheeks and lips (executed very delicately in rose hues), her gold jewellery (note the composition deliberately draws attention to her wedding band), the scarlet drapes and painted backdrop scenery, the diamond patterns on the studio carpet, and even the table beside her, as well as the large tome resting on it. Judging by the wording on John Wright’s studio back mark, he was presumably both photographer and colourist; this is corroborated by the entry on Wright in the DAAO, which notes that he “exhibited an untitled ‘picture’ at the Melbourne Intercolonial Exhibition in 1866, probably a painted photograph”.
Davies & Stanbury (Mechanical Eye) list Wright as being active at his Sturt Street premises between 1865 and 1869, although the DAAO suggests he continued in business there up until 1873. This portrait was probably taken towards the very beginning of this period, based on the sitter’s dress and hairstyle.

Adelaide Photographic Companyview full entry

Reference: See Douglas Stewart Fine Books, July 2020 catalogue:
Albumen print photograph, carte de visite format, 100 x 61 mm (mount), verso with imprint of ‘The Adelaide Photographic Company, Neales’ Buildings, King William St.’; both the print and mount are in fine condition.
A superb vignette head-and-shoulders portrait of a strikingly handsome youth, no doubt a scion of one of Adelaide’s elite families. The tartan fabric of his shirt (or jacket?) suggests a Scottish heritage.
The Adelaide Photographic Company was at this address from 1864 to 1867, and was managed by F. S. Crawford between 1864 and 1866.

Helsby Malclomview full entry

Reference: Exhibition. Water colors, etchings and pencil drawings of England, France and Belgium by Malcolm Helsby.
[Cover title : Exhibition of the work of Malcolm Helsby]. illustrated, catalogue of 79 works. Foreword by W. P. Robins, R. E. ‘A substantial publication on a largely forgotten South Australian artist. Rare, held in two libraries (SLSA; SLQ).’ from Douglas Stewart Fine Books]
Publishing details: Adelaide : Society of Arts Gallery, 1926. Quarto, lettered wrappers, yapp edges (edge tears), pp. [12],
Ref: 1009

DUESBURY Samuel (1822-1909)view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 catalogue:
DUESBURY, Samuel (1822-1909)
Full-length studio portrait of a gentleman leaning on a chair. Brisbane, 1871-72.
Albumen print photograph, carte de visite format, each 103 x 61 mm, verso with wet stamp of S. Duesbury, Photographer, Edward St., Brisbane; the albumen print and mount are in fine condition.
The Staffordshire-born photographer Samuel Duesbury was active in Brisbane, Queensland betwen 1868 and 1885. Davies & Stanbury (The Mechanical Eye) list him at Edward Street during the years 1871-72 only.

Stewart Cumbrae view full entry

Reference: Exhibition of Cumbrae Stewart pastels
At upper Athenaeum Hall, Collins Street : open daily from Monday 31st March to Saturday, 12th April, 10 a.m. to 5 p.m.. catalogue of 78 works
Publishing details: [Melbourne : Athenaeum Hall, 1924]. Duodecimo, exhibition catalogue, single sheet folded, pp. [6], light stain and crease, tipped-in black nd white plate (Modele qui pose),
Ref: 1000

Melbourne Society of Women Paintersview full entry

Reference: Melbourne Society of Women Painters : Twenty-fifth annual exhibition. Paintings, sculpture, and applied art.
catalogue of 115 works, addresses of the members.
Includes works by Thea Proctor, Sara Levi, E. W. Syme, Dora Serle, Violet Teague, Sybil Craig, Jessie Macintosh, Dora Wilson, Margaret Preston, Hilda Rix Nicholas, A.M.E. Bale, Aileen Dent, Adelaide Perry, J.C.A. Traill, Stephanie Taylor, Marguerite Mahood, Ola Cohn et al.
Exhibition catalogue of women artists exhibiting their twenty-fifth annual exhibtion in celebration of the Centenary of Melbourne.
[All catalogues by this society to be indexed]
Publishing details: Athenaeum Art Gallery, Collins Street. Open October 16-27, 1934. Quarto, graphically designed wrappers, pp. [8],
Ref: 1000

Inner-land : exhibition of Australian contemporary artview full entry

Reference: Inner-land : exhibition of Australian contemporary art. Essay by Ross Gibson, message by Edmund Capon.
Includes work by Gordon Bennett, Leah King-Smith, John Davis, Rover Thomas, Hossein Valamanesh, Maria Rita Barbagallo & Judy Watson.
Scarce.

Publishing details: [Tokyo?] : “Celebrate Australia” Contemporary Art Exhibition Executive Committee, 1993. Quarto, lettered wrappers, pp. [32], illustrated. Text in English and Japanese. Exhibition 9 – 27 November, 1993, Soko Gallery, Shinkiba; Artists’ talk, 11 November, 1993, the International House of Japan.
Ref: 1000

contemporary artview full entry

Reference: see Inner-land : exhibition of Australian contemporary art. Essay by Ross Gibson, message by Edmund Capon.
Includes work by Gordon Bennett, Leah King-Smith, John Davis, Rover Thomas, Hossein Valamanesh, Maria Rita Barbagallo & Judy Watson.

Publishing details: [Tokyo?] : “Celebrate Australia” Contemporary Art Exhibition Executive Committee, 1993. Quarto, lettered wrappers, pp. [32], illustrated. Text in English and Japanese. Exhibition 9 – 27 November, 1993, Soko Gallery, Shinkiba; Artists’ talk, 11 November, 1993, the International House of Japan.

Wherrett Charles photographer view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 catalogue:
A albumen print photograph, carte de visite format, 101 x 63 mm (mount), verso with studio imprint of C. Wherrett, Photographic Artist. Post Office Portrait Rooms. Barker St. Castlemaine. The albumen print is in good condition (a few tiny marks); the mount is very clean.
Charles Wherrett ran a studio in Castlemaine on the Victorian goldfields during the years 1862-3, before moving on to first Sandhurst (Bendigo) and later, Hobart Town.

Hodgkins Frances view full entry

Reference: Frances Hodgkins 1969 – 1947

Publishing details: Auckland : John Leech Gallery, 1998. Oblong quarto, illustrated wrappers, unpaginated, illustrated, price list and invitation enclosed.
Ref: 1000

Schaller Markview full entry

Reference: Mark Schaller : Botanicus fantasticus. Foreword by Helen Hughes, essay by Rebecca Agnew.
The first volume in the Modern Seasons series of publications. Modern Seasons is a publication series presenting a portrait of the four seasons. The four-part publication is a documentation of five Australian Visual Artists response to the navigation of abstracted time and causation in 2020.
Mark Schaller presents Botanicus Fantasticus, Autumn with his en plein air painting performances at the Royal Botanical Gardens that playfully investigates urban retreats as spaces of ‘wild’ nature interactions and interventions.

Publishing details: Melbourne : Fox Galleries, 2020. Quarto, illustrated wrappers with wraparound band, pp. 64, illustrated.
Ref: 1000

Lindauer Gottfriedview full entry

Reference: Maori paintings by Gottfried Lindauer
Pictures from the Partridge collection of paintings Auckland Art Gallery.
Publishing details: Wellington : Reed, 1977 (third revised edition). Quarto, cloth in illustrated dustjacket (edges rubbed, small stain lower panel), pp. 116, illustrated with full page plates of Maori subjects.
Ref: 1000

Yang Williamview full entry

Reference: Sydney Diary 1974 – 1984
William Yang’s portraits of Sydney in the 1970s and 80s
Publishing details: Sydney : James Fraser, 1984. Folio, boards in dustjacket (spine sunned), 143 pp. illustrated throughout.
Ref: 1000

Young Blamireview full entry

Reference: The watercolours of Blamire Young. Direct from London

Publishing details: Melbourne : Decoration Galleries, 1920. Octavo, pp. [8]. cover illustration, essay by Lionel Lindsay, three tipped-in colour plates, catalogue of 32 works.
Ref: 1000

Jackson Darylview full entry

Reference: Daryl Jackson architecture : drawings and photographs. Introduction: Patrick McCaughey ; photographs: John Gollings ; drawings: Jaro Safer ; essay, notations and sketches: Daryl Jackson.
Publishing details: Melbourne : Macmillan, 1984,Quarto, illustrated wrappers, pp. 107, illustrated.
Ref: 1000

Williams Fredview full entry

Reference: Grand Country - Fred Williams in Gippsland. By Simon Gregg.
‘As one of the twentieth century's most innovative and acclaimed artists, Fred Williams (1927-82) was an icon of Australian art. Williams revolutionised the way we see the natural environment through a distinctive approach to landscape. He painted all corners of Australia, from Tasmania to Far North Queensland to remote districts of Western Australia, but what is less well known is that Williams was also a visitor to Gippsland, especially in the years between 1968 and 1979. In those years Williams visited Wilson?s Promontory, the coastline around Walkerville and Waratah Bay, and the Agnes and Toorongo Falls. It was here, in Gippsland, that Fred Williams revolutionised Australian landscape through the creation of a fragmented, ?zip? approach, which enabled him to convey the sense of vastness and nature and its infinite horizons. Grand Countryrepresents the first time that Williams? Gippsland landscapes have been brought together in their totality. The seventeen works have been generously loaned to the Gallery from some of the nation?s greatest collections, such as the National Gallery of Australia and the National Gallery of Victoria. Further loans have been made through the Latrobe Regional Gallery and the estate of the artist. United for this special exhibition, visitors will see the Gippsland landscape as Williams saw it ? a rich palette of colours, dynamic forms, and intense beauty. From beaches to fertile hinterlands to noblewaterfalls, Gippsland brought out the very best in this virtuoso painter, through visions that are now accepted as some of the greatest works of Australian landscape.’
Publishing details: Sale, Vic. : Gippsland Art Gallery, 2019. Quarto, illustrated gatefold wrappers, pp. 40, illustrated. Printed in an edition of 500 copies.

Thompson E Hview full entry

Reference: Light diet : a collection of caricatures & sketches. Cover subtitle: 150 caricatures and sketches perpetrated by a New Zealand artist in and out of hospital. Satirical caricatures of military personalities.
Publishing details: London : New Zealand War Records, [1918]. Quarto, illustrated wrappers (stained and edge worn), pp. [44], illustrated.
Ref: 1000

Dreams and imaginationview full entry

Reference: Dreams and imagination : light in the modern city, by Melissa Miles
Includes illustrations of photographs by Olive Cotton, David Moore, Mark Strizic, Wolfgang Sievers, Max Dupain, Harold Cazneaux et al. [to be indexed[
Publishing details: Melbourne : Monash Gallery of Art, 2014. Quarto, illustrated wrappers, pp. 68, illustrated, exhibition checklist.
Ref: 1000

photographyview full entry

Reference: see Dreams and imagination : light in the modern city, by Melissa Miles
Includes illustrations of photographs by Olive Cotton, David Moore, Mark Strizic, Wolfgang Sievers, Max Dupain, Harold Cazneaux et al.
Publishing details: Melbourne : Monash Gallery of Art, 2014. Quarto, illustrated wrappers, pp. 68, illustrated, exhibition checklist.

How Cliffordview full entry

Reference: Clifford How - Antipodean light. Exhibition invite with brief essay and biography.
Publishing details: Arthouse Gallery, 2020, 2pp
Ref: 224

Artists of Lane Coveview full entry

Reference: see Artists of Lane Cove by Judy Washington. Local Studies Monograph No. 3. Forward by Lloyd Rees. Essays on 17 artists, two sculptors and on the Northwood Group, the Lane Cove Art Society and Centrehouse. Lists awards won by Lane Cove artists as well as numerous references to other artists.
Publishing details: Lane Cove Public Library, 1989, pb, 128pp, with index

Lane Cove artistsview full entry

Reference: see Artists of Lane Cove by Judy Washington. Local Studies Monograph No. 3. Forward by Lloyd Rees. Essays on 17 artists, two sculptors and on the Northwood Group, the Lane Cove Art Society and Centrehouse. Lists awards won by Lane Cove artists as well as numerous references to other artists.
Publishing details: Lane Cove Public Library, 1989, pb, 128pp, with index

Yorick Clubview full entry

Reference: see Wikipedia:
The Yorick Club was a gentlemen's club in Melbourne, Australia, whose membership consisted originally of men involved in the arts and sciences. It was founded in 1868 and dissolved in 1894. The club began informally with a series of informal meetings in 1868 held at the office of Frederick William Haddon in Spring Street, Melbourne. Among its earliest members were Marcus Clarke and Hamilton MacKinnon (his literary executor), Adam Lindsay Gordon, James E. Neild, J. J. Shillinglaw and George Arthur Walstab (1834–1909), author of Looking Back (1864). Later members included Henry Kendall, George Gordon McCrae and the poet Patrick Moloney (1843–1904).[1]
It originally met at King's Cafe in Collins Street, then established clubrooms in the same street above Haigh's tailor's shop,[2] and within a year its membership had grown to 100.[3] The club, which started as a lively, boisterous affair, developed into a respectable institution and expanded its criteria to admit men in the professions. In 1966 the club merged with the Melbourne Savage Club, with which it had had a cordial rivalry for some years.
A "Yorick Club" was formed in Adelaide in 1883,[4] which produced a few stage plays, but failed to thrive.

Yorick Clubview full entry

Reference: Thomas Carrington The Yorick Club: Its Origin and Development May 1868 to December 1910
Publishing details: Melbourne : Atlas Press, 1911
[8], 46 p. : ill., ports. for private circulation.
Ref: 1000

Yorick Clubview full entry

Reference: Forde, J. M., The Yorick Club: Reminiscences and Comments on the Publication, The Yorick Club, Its Origins and Development,
Publishing details: Manuscript, Mitchell Library, Sydney, 1911.
Ref: 1000

Bulletin Theview full entry

Reference: see Archibald, J. F., Genesis of the Bulletin: Being the Memoirs of J. F. Archibald,
Publishing details: unpublished, Microfilm, (ML MSS B670).

Steitz Edgar c1900-1974view full entry

Reference: see GFL Fine art auction catalogue, 16 August, 2020:
100. EDGAR STEITZ
(B.c1900-1974)
ABORIGINAL MAN CARVING A BOOMERANG
Signed and dated 34 on base
Painted plaster
46 x 38 x 38cm
Est: $600/1,200

Swinbourne Florence view full entry

Reference: More Fairies by Peggy Littlejohn Decorated by Florence Swinbourne.
Publishing details: Published by Winn & Co., Sydney 1947. Original borad with colour tipped-in plate, 93 pages, 7 unnumbered plates.

Rodd Nelleview full entry

Reference: Little Miss Anzac - The True Story of An Austalian Doll by Mrs. W.A. Holman Illustrations by Nelle Rodd.
Publishing details: Published by T.C. & E.C. Jack London. no date c1917. Original pictorial board. 30 x 25cm. 70 pages. With 9 colour plates, B&W illustrations.
Ref: 1000

Armstrongview full entry

Reference: The Witty Wizard of Warrandyte. A magical hour in fairyland ? by Frances Chapman and illustrated by Armstrong.
Publishing details: Melbourne, Boobook, [1944]. 29x22cm. Muir 1375.
Ref: 1000

Ferguson-Duell Julie view full entry

Reference: Childrens "Bush sprites of Australia. Volume 1. Featuring Regie and the Ridgetop sprites by? Julie Ferguson-Duell.
Publishing details: [Kincumber, N.S.W.] : J. Ferguson-Duell, 1986. (40) pages.30x22cm. Original boards. Spine strengthened with cloth tape. Muir 2329. Signed limited edition
Ref: 1000

Souter D Hview full entry

Reference: Happy hearts. A picture book for boys and girls. Including The raft in the bush and Chronicle of the court by Ethel Turner. 9 full page plates illustrated by D. H Souter. Text illustrations by various illustrators including Louis Wain.
Publishing details: London, Ward Lock & Co, 1908. 176 pages Muir 7575.
Ref: 1000

Souter D Hview full entry

Reference: The Sunshine Family. A book of nonsense for girls and boys by Ethel Turner &? Jean Curlewis with over 150 illustrations by D.H. Souter[The Bulletin] and H. Bancks [Ginger Meggs] and others.
Publishing details: London and Melbourne, Ward Lock, 1923. 192 pages. 22x19cm. Muir 7647.
Ref: 1000

Bancks Hview full entry

Reference: see The Sunshine Family. A book of nonsense for girls and boys by Ethel Turner &? Jean Curlewis with over 150 illustrations by D.H. Souter[The Bulletin] and H. Bancks [Ginger Meggs] and others. London and Melbourne, Ward Lock, 1923. 192 pages. 22x19cm. Muir 7647.
Publishing details: London and Melbourne, Ward Lock, 1923. 192 pages. 22x19cm. Muir 7647.

Birmingham Karna view full entry

Reference: In the wake of the "Cheerio". The narrative of a memorable cruise in Great Barrier Reef waters by Ivan A. Hughes. Linocuts by Karna Birmingham.
Publishing details: Published by the author in Tempe (Sydney) NSW, 1937.
Ref: 1000

Byrne Harold 1899-1966view full entry

Reference: see Rare Books, Maps & Art - Medical, Australiana & Affordable Art
by Sydney Rare Book Auctions
August 8, 2020: bookplate designed for Fred Lane- this time by Harold Byrnes(1899-1966). Byrnes was known for his depiction the movement of Russian ballet dancers. He was also a printmaker, who often used copperplats. In this bookplate we see a gondolier navigating the moody waters in Venice. The bookplate is printed in sepia on cream paper measuring 17x12cm. The print measures 13x9cm. Signed in pencil and number 15. In good condition

Rock art of the Pilbara Regionview full entry

Reference: Rock art of the Pilbara Region, North - West Australia by Bruce Wright.
Publishing details: Canberra: Australian Institue of Aboriginal Studies 1968. 78 pages of text and 857 illustrations.
Ref: 1000

Aboriginal artview full entry

Reference: see Rock art of the Pilbara Region, North - West Australia by Bruce Wright.
Publishing details: Canberra: Australian Institue of Aboriginal Studies 1968. 78 pages of text and 857 illustrations.

Lindsay Lionelview full entry

Reference: Lionel's Place. Lionel Lindsay. from Maitland Regional Art Gallery Collection. Foreword by Brigette Uren. 2017-2018 exhibition.
Publishing details: Maitland Regional Art Gallery, 2017, Paperback. 69 pages. 92 figures.
Ref: 1009

Century of Household Glassware in Australia view full entry

Reference: A Century of Household Glassware in Australia 1880 to 1980. A Visual Reference and Price Guide by Kevin and Margaret Conway.
Publishing details: Published by the authors 2001. Paperback.
Ref: 1000

glassview full entry

Reference: see A Century of Household Glassware in Australia 1880 to 1980. A Visual Reference and Price Guide by Kevin and Margaret Conway.
Publishing details: Published by the authors 2001. Paperback.

Forde Helenaview full entry

Reference: Australian Land Shells by James C Cox illustrated by Helena Forde
Publishing details: Sydney William Maddock 1868. Original cloth, with 20 colour plates
Ref: 1000

Medland Lilianview full entry

Reference: Birds of Paradise and Bower Birds by Tom Iredale. Illustrated by Lilian Medland.
Publishing details: Melb. Georgian House. 1950. Or.qt.morocco. Dustjacket. 239pp. 33 Col.plates illustrating 138 birds.
Ref: 1000`

Palenske R Hview full entry

Reference: see Rare Books, Maps & Art - Medical, Australiana & Affordable Art
by Sydney Rare Book Auctions
August 8, 2020
An etching by RH Palenske called the The Outlaw. Titled and signed by the artists in pencil underneath the embossed edge of the plate. 20x22cm

Ragget Noel 1937-75view full entry

Reference: see Rare Books, Maps & Art - Medical, Australiana & Affordable Art
by Sydney Rare Book Auctions
August 8, 2020
Central Australian landscape by Noel Ragget(1937-75). Watercolour on paper. Some foxing 27x36cm

Inkamala Lindberg (1942-80) view full entry

Reference: see Rare Books, Maps & Art - Medical, Australiana & Affordable Art
by Sydney Rare Book Auctions
August 8, 2020
Australian landscape by Lindberg Inkamala (1942-80) An Aboriginal artist of the Arunta school. Watercolour on paper 35x52cm

Todonai Robert view full entry

Reference: see Rare Books, Maps & Art - Medical, Australiana & Affordable Art
by Sydney Rare Book Auctions
August 8, 2020
Robert Todonai (1963-) is a South Australian artist. This is a historical dock scene of Brisbane River Wharf. Oil on board 12x20cm.

Crothers Tanyaview full entry

Reference: see Ebay listing August 2020:
Tanya Crothers, “Over The Border” Limited Print 1983
Description:
- Limid edition; #6 of 9
- Hand signed, titled, numbered
- Size Framed; W31.5” x L25.5
- Print; W27 x L21”
Tanya has been a teacher, tutor and printmaker for many years – exhibiting in group and solo exhibitions in Australia and overseas. Her work is represented in national and international collections and in 1980 she was commissioned by the Print Council of Australia to produce an edition of 50 prints. Recently she has combined her interest in painting and printmaking to develop a series of hand painted collagraphs.

Ball Sydneyview full entry

Reference: article by John McDonald, Sydney Morning Herald, August 8-9, August, 2020, Spectrum p15.
Publishing details: filed inside Sydney Ball - The Colour Paintings 1963-2007 in Scheding library.

Tribe Barbaraview full entry

Reference: see Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020. Lots 101 to 109.

Intrépide: Australian Women Artists in Early Twentieth-Century Franceview full entry

Reference: Intrépide: Australian Women Artists in Early Twentieth-Century France by Clem and Theresa Gorman. Includes biographies on 27 Australian women artists. [’It is hard for us to imagine the oppressed lives of single women in the first half of the twentieth century. Yet a few determined Australian women took a leap into the unknown and carved careers for themselves in Paris.
They studied, painted, and haunted galleries and salons. They exhibited in the Paris Salons and in private galleries on the Left Bank. They received prizes and awards out of all proportion to their numbers. And they brought back to Australia not only greatly enhanced skills but also Modernism – to a country that had barely heard of it.
This book examines a selection of the best artists among them, including some who have all but been forgotten, giving them back their rightful place in Australian art history.’]
About the Authors
Clem Gorman pioneered experimental theatre in Australia before working as an arts administrator in London. Nine of his plays have been staged professionally and he has written nine books of non-fiction. He has taught at universities in Australia and the US and now writes on the visual arts.
Therese Gorman wrote stage plays in the 1970s with her late husband, and with her husband Clem has co-authored Sydney Harbour: A Guide from North Head to South Head and this book. She and Clem are currently working on a biography of Sydney artist Wendy Sharpe.
Publishing details: Monash University Publishing; Victoria; 2020, 228pp, with endnotes and bibliography.

Angeloro David Sculpture Collectionview full entry

Reference: Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.
Ref: 1009

Angeloro David biographical informationview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro:

‘David James Angeloro
was born and raised in Syracuse, New York and graduated from Columbia University (New York City), Hobart University (Geneva) and Sydney University (Sydney). In 1971, he immigrated to Australia where he has worked as a management-technology consultant for commonwealth- state-local government organisations and large corporations throughout Australasia.
David’s interest (obsession) with fine arts started while attending university in New York City. In Australia, he earned a Master of Arts from Sydney University for his thesis Sydney’s Women Sculptors: Women’s Work in Three Dimensions (1788-1940). His passion for art extends to art history with particular interests in women artists, sculptors and painter-etchers (his two daughters are well-known artists of mashed-up video works),.
The Angeloro family collections have been nearly fifty years in the making. David’s collecting philosophy focused on affordable artists, who were generally well-known in their day, but have been ‘forgotten’ by art historians and curators. David has followed the worldwide trend of reassessing the position and value of pre-1940 painters, printmakers and sculptors, especially marginalized women artists.’

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Tribe Barbaraview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
Barabara Tribe is mentioned throughout and a biography is included:
TRIBE, RHODA BARBARA
(Mrs Jack A. Singleman)
BORN: 20th June 1913 at Edgecliff (Sydney), New South Wales
DIED: 21st October 2000 at Penzance, Cornwall, England, United Kingdom
Barbara Tribe was a sculptor (modeller, caster and carver), painter, printmaker, potter and art teacher. Her parents were Englishman Rupert Harry Tribe (a.k.a. ‘The Duke’) [1886-1956] and South African Rhoda Louise Dye [1881-1971], Barbara having two siblings (Marjorie Mary [1909-1981] and Barry Collier [1911-1999] Tribe). In 1910, the Tribe family emigrated from England to Australia, settling in Sydney. Barbara’s father was a well-known Sydney Bohemian, working as a journalist with Norman Lindsay and other Sydney-based black-and-white artists. On 24th April 1947, Barbara Tribe married fellow artist and potter (also architect) Jack A. Singleman [1907-1961] at Kensington, England, the couple having no children.
As a youth, Barbara Tribe was quite athletic and immersed herself in Sydney’s beach culture, learning acrobatics and participating in swimming carnivals. At the age of 15 years, she enrolled in the two-year art course at East Sydney Technical College (ESTC) under Englishman Rayner Hoff [1894-1937], studying art and especially sculpture between 1928 and 1933. She earned her Diploma in Modelling and Sculpture with honours, afterward being appointed Hoff’s Assistant (1932-1933) to work on Sydney’s ANZAC Memorial and teach evening classes at the ESTC. In 1932, she designed the elaborate float that represented the A.I.F. in the Sydney Harbour Bridge opening parade. At the age of 19 years, she was awarded the ESTC’s Bronze Medal in June1933, the School’s highest honour.
Between 1931 and 1934, Barbara Tribe exhibited at the Society of Artists’ Exhibitions in Sydney, the youngest artist to have work accepted. From 1935, she was a Member of the Society of Artists and exhibited at the Women’s Industrial Arts Society. By 1934, she shared a studio in the city with Jean Elwing [1911-1992], a dramatic art and sculpture student. In February 1934 at the age of only 21 years, Tribe exhibited her sculpture at the Anthony Hordern’s Gallery among a collection of impressionist and post-impressionist paintings. The Sydney Morning Herald art critic noted (26th February 1934)
“...establishes Miss Tribe not as a young sculptor of promise, but as a sculptor of mature powers, who already is fit to take her place among the finest Australian exponents of this art.”
The same critic summed up Barbara’s work at this time by describing two pieces.
“One of the striking features of Miss Tribe’s work is its variety of mood. There could scarcely be a greater contrast than between Bacchanale and the seated female figure Reverie. The first is an intricate group in plaster, built up with a masterly feeling for cumulative design and rhythm. The work is built on a roughly pyramidal scheme. At the apex, a maenad poises in mad ecstasy as she clasps her cymbals. This figure is supported by the upraised arm of a centaur; while around the base there swirls a wild array of animals and satyrs. The whole group is inflamed by a colossal zest of motion, which animates every figure and draws it into relationship with the ensemble. In Reverie on the other hand, the impression is entirely one of self-contained serenity and charm. This figure, like all the others demonstrates Miss Tribe’s thorough knowledge of human form. The effect is not only superficially true as regards the musculature and the general proportions of the frame. These portraits in bronze are inspired with genuine life and personality. They are remarkably virile, too. Work possessing such breadth of thought and expression is unexpected from a girl of Miss Tribe’s years, and from an artist who never studied nor observed outside Australia.”
Other art authorities agreed because in April 1935 Barbara Tribe was awarded the N.S.W. Travelling Scholarship (£250 per year for two years) which enabled her to travel to the United Kingdom. This was not only a first for a female artist, but Barbara Tribe was also the first sculptor to win this prestigious award.
On the 9th July 1935, Barbara Tribe left for London aboard the Hobson Bay. In London, she continued her studies at the Royal Academy Schools between 1935 and 1940, City and Guilds School of Art under Edgar Frith [1890-1974] between 1936 and 1937, Regent Street Polytechnic School of Art under Harold Brownsword [1885-1961] and St Martin’s School of Art between circa 1940 and 1945, also studying under sculptors Reid Dick [1879-1961], Gilbert Bayes [1872- 1953] and Frank Hardiman [1891-1949]. In 1936 and 1937, she entered the Prix de Rome, but didn’t win, her first artistic setback. Despite receiving a letter from the ailing Rayner Hoff suggesting that she should apply for his position as head of the Sculpture Department at ESTC, she decided to remain in the United Kingdom. In addition to becoming a leading sculptor and exhibitor in Britain, between the 1950s and 1990s, she taught sculpture at the Penzance School of Art.
As the end of her scholarship approached, Barbara Tribe convinced the owner of the huge Selfridge Department Store to provide her with publicity and an in-store studio from which she created a mask in an hour for the store’s customers, relief and portrait busts took longer and of course cost more. This innovative piece of marketing was a huge success for both the store and Barbara. Within a short time, she required the assistance of her close friend Jean Elwing who had studied with her under Hoff but was in London to study dramatic arts. After four months, Tribe established a large studio at Earl’s Court and all the publicity kept her and Elwing busy. It was also such a success story that journalists wrote articles about her and the Ace Film Company made a short documentary of Barbara Tribe sculpting a portrait bust. With the money earned, Tribe planned to travel to Europe, especially Berlin, Munich and Rome, but her plans were interrupted by the outbreak of war.
During World War II, Barbara Tribe worked in London for the Ministry of Works’ Ancient Monument Department, during one assignment being blown from her bicycle by a German bomb, causing her to be deaf in one ear. During the war, she created a number of impressive and sensitive portrait busts of Australian servicemen.
In 1947, British art critic Eric Newton illustrated Barbara Tribe’s sculpture in his monograph, British Sculptors 1944-1946, which included Henry Moore, Barbara Hepworth, Frank Dobson, Kenneth Armitage and Charles Wheeler. It was at this time, Barbara Tribe moved to Cornwall where she established a studio in an old Sunday School at Sheffield, Penzance which had its own kiln for firing terracotta and pottery. She now created sculpture in bronze, marble, stone, wood and fired terracotta and also produced paintings, drawings, prints and pottery. She supplemented her income by teaching modelling and sculpture at Penance School of Art (1948- 1988), her husband teaching pottery. Around the time of her father’s death, Barbara suffered a breakdown but recovered to resume her illustrious career.
Barbara Tribe’s reputation grew in the United Kingdom, Europe and Australia. In the United Kingdom, she exhibited at the Royal Academy, United Artists, Society of Women Artists, Women’s International Art Club, Scottish Society of Women Artists, London Group, Fieldborne Galleries (Newlyn), St Ives Art Society of Artists, the Scottish Academy and Royal Cambrian Academy of Arts. In 1954, she was elected a member of the Society of Portrait Sculptors, receiving its highest award, the Jean Masson Davidson Silver Medal in 1998. In 1957, she was elected a Fellow of the Royal Society of Women Sculptors and in 1998, a Senior Academician of the Royal West of England Academy. Barbara Tribe was a life member of the Association Internationale des Arts Plastiques (UNESCO, Paris).
Barbara Tribe received a large number of commissions from Australia and around the world. From 1966, she has travelled extensively, including a number of visits to Australia. Tribe’s sculpture has always exhibited a strong feeling of character whether represented in a portrait bust, figure study, group composition or her animal studies. During her six visits to Thailand [1973- 1980], Khmer sculpture exerted a powerful influence on her later work. Barbara Tribe sculpted for seventy years, right up to the day of her death.
Barbara Tribe has been honoured through a number of retrospective exhibits, including in 1979 and 1981 at the Stokes-on-Trent Gallery and in 1981 at the Mall Gallery in London. After her death, the Barbara Tribe Foundation was established to provide art scholarships to emerging artists.
COLLECTIONS: National Gallery of Australia; Australian War Memorial; National Portrait Gallery (Canberra); Art Gallery of NSW; National Galley of Victoria; Art Gallery of South Australia; Stoke-on-Trent Museum and Art Gallery; Spode Potteries Museum and Gallery; Esperanto Museum (Vienna); Royal Air Force Museum at Hendon.
BIBLIOGRAPHY:
Barbara Tribe: Sculptor by Patricia R. McDonald, 2000;
HERITAGE: National Art Book by Joan Kerr, 1995;
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015.
Australian Sculptors; Encyclopedia of Australian Artists; Ladies Picture Show; Who's Who in International Art and Antique, Melrose Press, Cambridge, UK 1976.
MEDIA SOURCES: Sydney Morning Herald (14th March 1932; 3rd March 1933; 24th June 1933; 26th & 28th February 1934; 16th February, 4th & 9th April, 10th June, & 4th & 8th July, & 17th August 1935; 26th June 1937; 12th February & 28th April 1938); Canberra Times (20th May 1944); Sydney Herald (20th May 1951).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Australian Painter-Etchers Society (1920-1933)view full entry

Reference: Australian Painter-Etchers Society (1920-1933), unfinished and unpublished MA thesis by David Angeloro,
Publishing details: referred to in Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
Ref: 1000

Seton Alexview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
Alex Seton is mentioned throughout and a biography is included:
SETON, ALEX
[ New South Wales, Victoria, Queensland, South Australia, United Kingdom, Europe, USA, China, Japan, Singapore, Hong Kong ]
BORN: 6th April 1977 at Sydney, New South Wales LIVING: 2019 at Sydney, New South Wales
Alex Seton is sculptor (carver, modeller and caster), painter, photographer and video artist. He is well-known internationally as a multidisciplinary artist creating sculpture, photography, video and installation, being best known for his carving of marble, but has also produced limited editions in bronze. He maintains an interest in materiality and the performative object, inviting interplay and exchange between objects, bodies, and ideas. His carved illusions, where an everyday object is transformed into an object of art, and soft objects are hewn from hard stone, are admired internationally.
Alex Seton developed his early interest in sculpture at St Ignatius’ College at Riverview (Sydney), later earning (1998) Bachelor of Art History and Theory from the College of Fine Arts at the University of New South Wales. However, for the most part, Seton is a self-trained carver, having started carving when a teenage and working with marble sourced from the Wombeyan Caves Marble Quarry [1915-1997], which was near his family’s rural property. After his university studies, Seton honed his craft through internships and residencies with marble carving studios in Carrara, Italy, an experience that continues to influence his work.
At the age of 17 years, Alex Seton was awarded his first major art prize for sculpture - (1994) First Prize at Mosman Youth Prize and Anne Ferguson Award from the Mosman Art Gallery, Sydney. In the first 25 years of his artistic career, Alex has been awarded more than 25 major art honours, including (2002-2004) five awards at Sculpture by the Sea (Sydney); (2006) Helen Lempriere Sculpture Award, People’s Choice Award (Sydney); (2005, 2008, 2009) Woollahra Small Sculpture Prize (Sydney); (2007) Hanyu International Sculpture Cup (China); (2012) Art OMI International Artists Residency (New York City); (2016) Grand Jury Prize, Talents Contemporains, Fondation François Schneider (France); (2019) Recipient of the Mordant Family / Australia Council Affiliated Fellowship at the American Academy in Rome; and finalist in (2013, 2016) Wynne Prize, Art Gallery of NSW
(Sydney); (2014) Il Henraux International
Sculpture Award (Italy); (2016) Fleurieu Art
Prize, Anne & Gordon Samstag Museum of Art.
Across diverse media, Alex Seton explores the complex role that objects and their modes of production play in our lives – at once comic and tragic, pervasive and rarefied, endlessly reproduced and immensely singular. Recent work has used this lens to engage directly with contemporary political issues, such as Australia’s treatment of asylum seekers, and questions of conflict and nationhood.
In 2017, his work Refuge was included in the Kochi-Muziris Biennale (India) following exhibition in The Journey at Galerie Paris Beijing (2016). He has had numerous solo exhibitions, including The Island, Newcastle Art Gallery (2017); Last Resort, McClelland Sculpture Park and Gallery and Linden Centre for Contemporary Art (2014); As of Today, Australian War Memorial (2014-15); Replicator, Tweed Regional Gallery (2014); and Roughing Out, Hazelhurst Regional Gallery (2013). Selected group shows include the Kochi-Muziris Biennale, India (2016); the 2014 Adelaide Biennial: Dark Heart at the Art Gallery of South Australia; Sealed Section at Artbank (2015); What Marcel Duchamp Taught Me at The Fine Art Society, London, United Kingdom (2014); and Subject to Ruin at Casula Powerhouse Arts Centre (2014).
Alex Seton is represented by Sullivan+Strumpf, 799 Elizabeth St, Zetland (Sydney), NSW and Singapore.
COLLECTIONS: National Gallery of Australia; Art Gallery of South Australia; Australian War Memorial; Newcastle Art Gallery; Bendigo Art Gallery; Albury Regional Gallery; University of Queensland Art Museum; Queensland University of Technology; Artbank; Art Gallery of NSW Society; Lane Cove Council; Patrick Corrigan Collection (Sydney); Danish Royal Art Collection (Copenhagen); HBO Collection (New York).
PUBLIC ART: The Parcel (Canberra, ACT).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Women sculptorsview full entry

Reference: Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

sculptureview full entry

Reference: Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Bangle Linview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
BANGLE, LIN
BORN: circa 1985 at Australia
LIVING: 2003 at Newcastle, New South Wales
[ New South Wales ]
Lin Bangle is a sculptor (modeller and caster) who received her artistic training at the University of Newcastle. While still a student, she exhibited sculpture in the 2003 Artists Walk on Hunter Street, Newcastle, New South Wales. At the exhibition, she met David Angeloro who admired and purchased her Alberto Giacometti [1901-1966] inspired modelled plaster statues of a father, mother and infants. Giacometti’s attenuated forms of figures reflect the view of 20th century modernism and existentialism that modern life is increasingly empty and devoid of meaning.
[110] “ Family
(Number 6 & 7) ” 2003; plaster with rubbed painted patina;
No. 6: 103.0 x 14.0 x 12.0 cm & No.7: 131.0 x 17.0 x 14.0 cm; Inscribed: “ Kim Bangle / 2003 / No. 6 & 7 ”
(underside of base).
PROVENANCE:
ACQUIRED: 2003 from sculptor.
In 2003, Lin Bangle modelled a series of plaster scupltures of standing individuals in the style of Swiss modernist sculptor Alberto Giacometti. Working in Paris from 1922, Giacometti had a great enthusiasm for modelling in plaster. For most sculptors, plaster is an intermediary material used in the lost wax process. Giacometti, however, treated plaster as a noble material, valuing it for its malleability and sense of fragility. He worked away at it with his knife, often subjecting it to so much pressure that it finally crumbled away
Successfully emulating the elongated heavily worked modelling technique in plaster is challenging, few succeeding. However, Bangle has succesfully emulated Giacometti in both technique and style without simply copying his ouevre (Giacometti modelled solitary figures and never with an infant, as in Bangle’s pieces). Traditionally clay and wax are preferred by sculptors for modelling because its easier to work and will take on fine detail, which is for the most part unattainable in plaster.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Preston Margaret potteryview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
PRESTON, MARGARET ROSE
[nee Margaret McPherson; Mrs William G. Preston]
BORN: 29th April 1875 at Glanville, Adelaide, South Australia
DIED:
28th May 1963 at Mosman, New South Wales
Margaret Preston was a painter, printmaker, potter, author, journalist and art teacher. Her parents were David MacPherson [1852-1895; Scottish marine engineer] and Prudence Cleverdon Lyle [1850-1903], Margaret having one sibling (Ethelwynne Lyle MacPherson [1877-?]). In 1885, the McPherson family moved to Sydney where Margaret attended the Fort Street School until 1887. On 31st December 1919, Margaret married William George Preston [1881-1978] at Adelaide, settling in Mosman (Sydney) where the couple had no children.
Margaret Preston received her initial artistic training privately under Lister Lister (Sydney 1888) and at the National Gallery of Victoria School (1889-1894, 1896-98) under Frederick McCubbin and Bernard Hall, winning its One-Year Still-life Scholarship (1897). In 1898, she returned to Adelaide where she studied at the S.A. School of Design under H.P. Gill and life-drawing under Hans Heysen. By August 1898, she was teaching art privately in Adelaide, including drawing, painting, life-classes and outdoor sketching. In August 1901, Margaret held an exhibition of 165 of her students and her own artworks at the Stow Church Hall, this becoming an annual event.
After her mother’s death, Margaret decided to continue her education in Europe. On 2nd July 1904, Margaret Preston and fellow artist Bessie Davidson boarded the German steamer Gera and disembarked at Genoa, Italy to study and travel in Germany, France, Italy, Holland, United Kingdom, Ireland, Spain and also North Africa. In Munich, Margaret studied at the Government Art School for Woman and in Paris, received private tuition in Japanese and Chinese art at Musee Guimet (1906-1907) and exhibited at Paris’s Salon (1905, 1906, 1913). Her developing Modernist sensibility was influenced by French Postimpressionists such as Paul Cézanne, Paul Gauguin, and Henri Matisse as well as by Japanese art and design. From Japanese art in particular, she acquired a preference for asymmetrical composition, a focus on plants as subject matter, and an appreciation of pattern as an organizing method. She began to try to reduce her own work to ‘decoration without ornamentation’.
In December 1906, Margaret and Bessie Davidson returned to Adelaide aboard the Grosser Kurfurst via China and set up a studio together and put on a joint exhibition from which one of her paintings, Onions (1905), was purchased by the National Gallery of South Australia which also commissioned her to paint a portrait of Catherine Spence in 1911. Margaret also taught art at the Collegiate School of St Peter and the Presbyterian Ladies College, her students including Gladys Reynell and Stella Bowen. In 1912, Margaret and Glady Reynell travelled to Europe, living in Paris and Brittany (1913-1914) before settling in London at the outbreak of war. She exhibited her first woodcuts with the Society of Women Artists. She also exhibited at the Royal Academy (London), New England Art Club and New Salon (Paris). During this time, she studied pottery at Camberwell School of Arts and Crafts where she became familiar with the designs of the Fry and the Bloombury Group. During World War I, Margaret taught ceramics, basket-weaving and printmaking to shell-shocked soldiers at the Seale Hayne Neurological Hospital at Devon.
In 1919, Margaret exhibited at the Carnegie Institute (Pittsburgh, PA, USA) and met her future husband, William Preston, on the return voyage to Australia. Marriage provided financial security and she settled in Mosman (Sydney). She was able to travel extensively, New Caledonia and New Hebrides (1923), South East Asia and China (1924-26), North Queensland (1927) and Ceylon, Africa and India (1956-58).
Margaret Preston initially exhibited with the Royal Art Society, but later joined the Society of Artists. In 1926, she joined the Contemporary Art Group where she was able to more comfortably exhibit her modernistic style, but in 1937, was a foundation member of the highly conservative Australian Academy of Art. She was later involved with the Society of Arts and Crafts (N.S.W.), serving as its Vice-President (1953-56). Margaret Preston contributed over 27 articles to Art in Australia, Home and other publications. Her first major exhibition of prints was with Thea Proctor in 1925 and she had solo exhibitions in 1929, 1936 and 1953. In 1937, Preston won a silver medal at the Exhibition International (Paris). In the 1940s, she promoted Australian motifs based on Aboriginal designs. She was an open-minded and vocal champion of modern art in Sydney. In the late 1920s, her work dared to show the influence of cubism, expressionism and metaphysics art styles. Her influence on Australian art was greater than that of any other women, due in no small part to her work being featured and reproduced in Art in Australia.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Cohn Annaview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
COHN, ANNA
(nee Rapp; Mrs Lotar Cohn)
[New South Wales, Poland, Austria, France ] BORN: 3rd October 1921 at Krakow, (Second) Republic of Poland
DIED:
15th February 2012 at Randwick, New South Wales
Anna Cohn was a sculptor, ceramist, painter, art teacher, art writer and art critic. Anna Rapp was born to Simon Meier Rapp [1894-1928] and Mala Rendel [1888-1927], Anna having two siblings (Ida [1919-1997; Mrs Fersztenfeld] and Elinore [1924-1926] Rapp). During World War II, Anna Rapp was forced to live in the Jaworzno Ghetto (near Krakow) afterward being sent to the forced labour camp at Annaberg in Austria before being transferred to Auschwitz, Poland. Fortunately, she was liberated by American troops while on a death march to another camp. On 3rd June 1946, she married Lotar Cohn [1913-2004], a Polish medical doctor, at Paris, France, the couple having two children. In 1952, Anna and Lotar Cohn were granted Australian citizenship.
In 1945, Anna Cohn received her artistic training at Académie des Artes Modernes in Paris, where she was on a two-year painting scholarship. In 1947, Anna Cohn and her husband immigrated to Australia, where between 1950 and 1958, she was enrolled the Diploma Art Course at East Sydney Technical College (a.k.a. National Art School after 1952), the Dattilo Rubbo Art School with John Olsen [1928-] in 1959, and between 1960 and 1962, the sculpture course at National Art School under Lyndon Dadswell [1908-1986]. Anna Cohn was commissioned to create a number of monuments, including Auscare’s Australians Care for Refugees in 1996 and Raoul Wallenberg Memorial in 1985.
In 1968, Anna Cohn was invited to join the Sculptors Society, later becoming its Vice- President and then President. Between 1972 and 1990, she authored the Sculptors Society Bulletins. In 1971 with the help of architect member Bud Dumas, she obtained the first premises for the Society at 3 Cambridge Street, The Rocks, from The Rocks Development Authority. With the dedication of its members, the appreciation of sculpture has grown in Australia.
COLLECTIONS: Art Gallery of NSW; Lismore Regional Art Gallery; Macquarie University. MEDIA SOURCES: Daily Telegraph (12th February 1952).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Fernandes Diana Lucia Padua view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
FERNANDES, DIANA LUCIA PADUA
BORN: 20?? at Brazil
LIVING: 2018 at Victoria, Australia
[ Brazil, Australia ]
Diana Lucia Padua Fernandes is a Brazilian-Australian sculptor, painter and art restorer. She was born and raised in Brazil but by 2012 she had immigrated to Australia, settling in Melbourne. She is currently a member of the Association of Sculptors of Victoria.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Hart Bill (Charlotte Rita Alston)view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
HART, BILL (CHARLOTTE RITA ALSTON)
(a.k.a. Mrs Thomas Essington Breen)
[ New South Wales, United Kingdom, Europe ] DIED: 16th August 1968 at Cronulla, Sutherland, New South Wales
‘Bill’(Charlotte) Hart was a sculptor (modeller and caster), ceramist, craftswoman and commercial artist. Her parents were Londoner Edward John Hart [1884-1950] (often caustic editor and proprietor of Aircraft magazine) and Rose (Peggy) Alston [1885-1969], Bill’s parents divorcing in 1921. In 1941, Bill married Thomas Essington Breen (Senior) [1914-2002] (journalist
for Labour Daily, Sydney Morning Herald and later (1945) Sun) at Woollahra, the couple having at least one child (Thomas Alston Essington Breen [1941-2002]).
Between 1931 and 1935, Bill Hart received her artistic training at East Sydney Technical College under Rayner Hoff, having studied art and commercial art at Sydney Technical College between 1929 and 1931. On 4th November 1937, she returned to Sydney aboard the SS Orontes after a six-month tour of Europe where she attended classes in modern sculpture in London, Paris and Berlin and visited with Barbara Tribe for a time in London.
In September 1931 and 1932, Bill Hart exhibited sculpture at the Society of Artists Exhibition in Sydney, the Daily Telegraph (5th September 1931) commenting
“Sculpture – especially Rayner Hoff’s and the curiously good pieces by Bill Hart”.
[NAS] “ Balinese Lady ”
circa 1935; earthenware with red-brown glaze; 53.0 x 15.0 x 15.0 cm;
Inscribed: “Bill Hart” (rear of base).
In the mid-1930s, Bill Hart exhibited with the Women’s Industrial Art Society and in 1940, with the Australian Academy of Art.
In 1940, Bill Hart created clay figurines of Petrushka and other characters from the Ballets Rouses de Monte Carlo for display in the foyer of the theatre. Thomas Breen had interviewed her for the Sydney Morning Herald, and this led to their engagement. In 1940, she had a studio at Darling Harbour and after her marriage, she still listed herself as an artist until the early-1950s, having rekindled her artistic career after her young son started school. In Sutherland Shire, there is Charlotte Breen Memorial Park, established in her honour.
BIBLIOGRAPHY:
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015.
MEDIA SOURCES: Sydney Morning Herald (24th January 1930; 22nd January 1932; 25th January 1933; 29th January 1934; 23rd January & 5th May 1935; 29th January 1936; 3 & 4 November 1937; 30th March & 16th October 1940; 5th September 1942); Daily Telegraph (5th September 1931; 1st September 1932; Sun (14th December 1949).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Breen Mrs Thomas Essington (Bill Hart)view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
HART, BILL (CHARLOTTE RITA ALSTON)
(a.k.a. Mrs Thomas Essington Breen)
[ New South Wales, United Kingdom, Europe ] DIED: 16th August 1968 at Cronulla, Sutherland, New South Wales
‘Bill’(Charlotte) Hart was a sculptor (modeller and caster), ceramist, craftswoman and commercial artist. Her parents were Londoner Edward John Hart [1884-1950] (often caustic editor and proprietor of Aircraft magazine) and Rose (Peggy) Alston [1885-1969], Bill’s parents divorcing in 1921. In 1941, Bill married Thomas Essington Breen (Senior) [1914-2002] (journalist
for Labour Daily, Sydney Morning Herald and later (1945) Sun) at Woollahra, the couple having at least one child (Thomas Alston Essington Breen [1941-2002]).
Between 1931 and 1935, Bill Hart received her artistic training at East Sydney Technical College under Rayner Hoff, having studied art and commercial art at Sydney Technical College between 1929 and 1931. On 4th November 1937, she returned to Sydney aboard the SS Orontes after a six-month tour of Europe where she attended classes in modern sculpture in London, Paris and Berlin and visited with Barbara Tribe for a time in London.
In September 1931 and 1932, Bill Hart exhibited sculpture at the Society of Artists Exhibition in Sydney, the Daily Telegraph (5th September 1931) commenting
“Sculpture – especially Rayner Hoff’s and the curiously good pieces by Bill Hart”.
[NAS] “ Balinese Lady ”
circa 1935; earthenware with red-brown glaze; 53.0 x 15.0 x 15.0 cm;
Inscribed: “Bill Hart” (rear of base).
In the mid-1930s, Bill Hart exhibited with the Women’s Industrial Art Society and in 1940, with the Australian Academy of Art.
In 1940, Bill Hart created clay figurines of Petrushka and other characters from the Ballets Rouses de Monte Carlo for display in the foyer of the theatre. Thomas Breen had interviewed her for the Sydney Morning Herald, and this led to their engagement. In 1940, she had a studio at Darling Harbour and after her marriage, she still listed herself as an artist until the early-1950s, having rekindled her artistic career after her young son started school. In Sutherland Shire, there is Charlotte Breen Memorial Park, established in her honour.
BIBLIOGRAPHY:
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015.
MEDIA SOURCES: Sydney Morning Herald (24th January 1930; 22nd January 1932; 25th January 1933; 29th January 1934; 23rd January & 5th May 1935; 29th January 1936; 3 & 4 November 1937; 30th March & 16th October 1940; 5th September 1942); Daily Telegraph (5th September 1931; 1st September 1932; Sun (14th December 1949).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Elston Christineview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.

ELSTON, CHRISTINE
[ West Australia, New South Wales, South Australia, Victoria, Queensland ] LIVING: 2019 at Dardanup West, West Australia
Christine Elston is an Australian potter, ceramist, glassworker and art teach. She commenced producing pottery in 1974 after studying at TAFE Colleges in Adelaide and Sydney, afterward being awarded an Associate Diploma in Visual Arts from the University of Western Sydney. In 1990, she was awarded a major art prize for her ‘marine fish teapots’ at The Walker Ceramic Awards held at the Victorian Arts Centre in Melbourne. On three occasions, she has won The Peoples’ Choice Awards at The Perth Teapot Exhibition and has had numerous solo and group exhibitions. She lives on a three-acre homestead in Dardanup West and works in a studio-gallery (5th Element Art Glass Studio and Gallery) at the rear of the property.
The inspiration for her work comes from seeing the magnificent colors of Australia, the Kimberley’s in the Northwest to Uluru and the tropics of far North Queensland. In circa 2012, she started to design and create art glass pieces that have evolved over the years. The combination of fused glass and airbrushed pottery is quite unique for and artist in three- dimensions, the pottery and glassware can be both functional and beautiful. Christine's mark is her initials ‘CE’ painted to base.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Elwing Jean Wyndham view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
ELWING, JEAN WYNDHAM
(Mrs Henry Fisher)
BORN: 27th December 1911 at Rockhampton, Queensland DIED: August 1992 at Dacorum, Hertfordshire, England
Jean Elwing was a sculptor, painter and dramatic performer. Her parents were Archibald James Elwing [1878-1944] (auctioneer and Councilman for Rockhampton) and Catherine Simpson Duncan [1879-1954], the couple having at least one daughter and two sons (Archibald George and Eric Duncan Elwing). On 11th September 1946 in London, Jean Elwing married Henry Fisher [1906-1969], the second son of Australian Prime Minister Andrew Fisher [1862- 1928] and a Major in Royal Engineers in Iraq and India. Jean and Henry Fisher had one son (Robert J.S. Fisher [1947-]).
Jean Elwing was raised in Maryborough (Queensland) where she was a competitive swimmer and competed in eisteddfods, showing an early talent for music and acting while at Rockhampton Grammar School. In June 1930, she was awarded second prize for a watercolour portrait at the Rockhampton Show. In November 1932, she moved to Sydney where she studied elocution and singing under Australian Shakespearean actor Montgomery Stuart [1873-1942] and also joined the Independent Theatre and Conservatory of Music.
Jean Elwing received her artistic training (1933-1934) under Rayner Hoff at East Sydney Technical College where she became friends with Barbara Tribe with whom she shared a studio in Sydney. Between 1933 and 1935, Jean Elwing appeared in a number of amateur productions including the Independent Theatre’s Strange Orchestra, Peter Pan and Children in Uniform before understudying the lead role in J.C. Williamson’s Sixteen. In April 1935, Barbara Tribe sculpted a portrait bust of Elwing.
In May 1935, Jean Elwing returned home to Rockhampton determined to raise the money required to travel to London to further her dramatic studies, Dame Sybil Thorndyke having encouraged her to further her dramatic career in London. In Rockhampton, Elwing produced and played the leads in Children in Uniform, The Patsy and Eliza Comes to Stay, using local talent for the productions. These plays were highly successful, earning Elwing the money required to travel overseas.
On 16th May 1936, Jean Elwing left Sydney aboard the RMS Jervis Bay and arrived at South Hampton on 29th June 1936. She was met at the dock by Barbara Tribe with whom she shared accommodation and a studio in London until at least 1940. Jean Elwing often acted as Barbara Tribe’s model (including Tribe’s Prix de Roma scholarship entry Diane) and for a number of years, assisted Tribe at London’s Selfridge Department Store to create portrait masks, reliefs and portrait busts for customers. In London, Jean Elwing joined the Coventry Repertoire Company and in order to lose her Australian accent she studied under Kate Rorke [1866-1945], professor of dramatic art at the Guildhall School of Music and a well-known voice instructor and theatre producer. In 1936, Jean Elwing was cast in the West End production of the Shining Hour and later was the understudy for Call It a Day. In December 1938, Elwing and Tribe entertained sculptor Daphne Mayo at their studio in London.
During World War II, Jean Elwing worked for the Overseas Service of the B.B.C. and afterward the Entertainment Staff of the B.B.C.’s European Service. In Rockhampton, her family established the Jean Wyndham Fisher Memorial Bursary for emerging actors.
BIBLIOGRAPHY:
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015.
Barbara Tribe: Sculptor by Patricia R. MacDonald; North Ryde; 2000.
MEDIA SOURCES: Rockhampton Morning Bulletin (4th April 1927; 28th September 1928; 16th November 1929; 8th November 1932; 23rd May 1935; 30th August 1937); Rockhampton Evening News (16th July 1929; 26th June & 12th July 1930; 19th December 1932); Daily Telegraph (1st December 1933; 16th July 1936); Sydney Morning Herald (2nd December 1933; 29th January 1934; 12th May, 23rd July & 17th December 1936; 26th June & 28th December 1937; 12th February 1938; 27th December 1939; 8th October 1946).
Between 1938 and 1940, Jean Elwing and Barbara Tribe shared an apartment and had a studio at London’s Selfridge Department Store where they produced portrait masks and bust for the Store’s customers. This was in addition to their artistic and dramatic studies, and Elwing appearing in a number of London Productions in the evenings. These commissions help pay their bills, especially after Barbara Tribe’s travelling scholarship expired in 1938.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Lautour (A.K.A. Latour), Loma (Lorna) Kyleview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
LAUTOUR (A.K.A. LATOUR), LOMA (LORNA) KYLE
(born: Turnbull; Mrs Raymond Lindsay; Mrs Victor Clarence Jamieson )
[New South Wales, Queensland, Victoria, United Kingdom ]
BORN: 16th May 1902 at Mellool Station near Moulamein, Riverina, New South Wales DIED: 19th December 1964 at Brisbane, Queensland
Loma Lautour was a sculptor, ceramicist, painter, printmaker, jeweller, craftsperson, art teacher, artist model, thespian, and stylish bohemian. Loma Kyle Turnbull was the second child of George Stewart Turnbull [1863-1944] (station manager) and Louisa Elaine Scott [1863-1903] (a writer and china painter). After her mother’s death, Loma was raised by relatives in the United Kingdom where she was educated by governesses and at boarding schools. In 1914, Loma returned to Australia with a cultivated English accent, a rebellious free spirit and a passion for art. Instead of reuniting with her father who had remarried, Loma was taken in by relatives who were unable to control her, the adolescent running away repeatedly from home and boarding school. After a final climactic outburst, Loma abandoned her family for a Bohemian life in the ‘Big Smoke’ (Sydney) and in Melbourne. Here she changed her name to ‘Latour’ (often spelt Lautour) after her great-great-grandfather Lieutenant-General Peter Augustus Latour [1788-1866], an early pioneer of Western Australian and Tasmanian development. In March 1917, she passed the Red Cross Ambulance examination held in Sydney.
At age 14 years, Loma Lautour played walk-on parts with the Allan Wilkie Shakespeare Company [1916-1930], acting in melodramas in Melbourne. Between 1919 and 1922, she acted with J.C. Williamson, Fuller’s Dramatic Players and the Royale Dramatic Players including dramatic parts in The Girl Who Took Wrong Turn and A Beggar Girl’s Wedding in Sydney and playing the lead in Should A Wife Forgive and One Law for Both in Brisbane. Prophetically, these productions were a pointer to her later life.
Loma Lautour lived a bohemian life in King’s Cross, working as an actor, artist model and artist. On 28th December 1928, she married Raymond Lindsay [1903-1960] (artist, journalist and son of Norman Lindsay), but the marriage soon failed (divorce filed on 30th November 1933 and was official on 5th September 1940).
Loma Lautour probably received some artistic training in the United Kingdom before studying sculpture in Sydney [mid-1930s] under Rayner Hoff. While she does not appear to have been a regular student, she most likely was a paid artist model who Hoff allowed to attend his classes, she later claiming to be a disciple of the English sculptor Jacob Epstein [1880-1959].
When interviewed, Loma Lautour told the Sydney Morning Herald reporter (on 12th May 1936)
“... that she worked very quickly and without sketches. Two or three days of almost continuous work would suffice to produce a sculpture.”
At her solo exhibition in July 1936 at the Women’s Industrial Arts Society, the Sydney Morning Herald art critic stated (on 9th July 1936)
“Her work shows keen imagination and a notable skill in handling materials. It is when her innate simplicity and expressiveness are matched by a corresponding plainness in surface and texture that the effects are most striking. This appears in certain cases where the same design is reproduced in flat colour and again in heavy mottlings and an aggressively brilliant glaze. Two pairs of horses are among the most striking things in the show. There is much life; also a series of masks, some amusingly grotesque.”
The Art Gallery of NSW was impressed enough with the Egotist that it was acquired for its collection.
In the 1930s, Loma Lautour earned a reputation as an artistic innovator and modeller of figures. At the Royal Art Society Exhibition in 1937, the Sydney Morning Herald art critic commented (on 10th August 1937)
“...touching extremes of modern technique as practiced by the clever sculptor, Loma Lautour, to more conservative styles of work which are nevertheless beautiful, such as perfect studies of flowers by Mrs Marion Ferrier Jagger. Loma Lautour is of the younger school of artists. She studied with Rayner Hoff and is now a disciple as well as an admirer of Epstein. She has never been aboard but is anxious to go. There is little scope for her class of art in Australia, though the demand is always improving. Loma Lautour is highly original. She loves to experiment in new mediums. She used up more than £20 of silk not long ago, and oceans of time to work out a design in needlework; an odd departure for a sculptor. She wants £70 for the finished job and hopes someday to see it under glass used as a tabletop. At the Royal Art Exhibition, she is displaying what is sedately called a brass inlay panel. It is a full- length figure of a woman, and, interesting as it is as a design, it is eminently more interesting as a new medium. It is an experiment she thought out herself and is actually a kind of enlarged cloisonné. She used 75 feet of brass strips.”
Loma Lautour’s good looks, stylish manner of dress, unconventional direct speech and artistic associations made her popular with the press who regularly interviewed and photographed her. She was very social during the late 1930s, making appearances at art shows, theatre and charity events and being prominently present at the annual Artist’s Club Balls, serving on its organising committee.
[NAS] “ Arabian Princess ”
1935-1936; ceramic with red-brown glaze; 15.0 x 11.5 x 10.5 cm; Mashman Brothers [1885-]1957], Sydney.
PROVENANCE
SCULPTED: 1935-1936 while working for Mashman Brothers Pottery in Sydney.
ACQUIRED: from private collector.
In circa 1935/1936, Loma Lautour was employed at Mashman Brothers Pottery [1885- 1957] where she modelled, pressed and moulded art deco items, but also fired her own artistic creations. In addition to exhibiting glazed ceramics, she also experimented with metal strips soldered together to form an inlayed relief. At her solo exhibition at the Castlereagh Fine Art Gallery in July 1938, she showed off her versatility and innovation by exhibiting heads and figures, panels, masks, garden pottery, linocuts and tapestries. During this period, Lautour also taught modelling and pottery from her Hunter Street studio and produced masks for theatre productions. In 1940, she was contracted by Disney to make dolls and other merchandise.
On 28th March 1941, Loma Lautour married Private Victor Clarence (a.k.a. Bill or Jamie) Jamieson [1905-1946] of Melbourne, the wedding taking place as a spur of the moment event before the soldier shipped out to the Pacific Theatre of War on 10th April. There were no guests, only a minister and witness, Loma wearing a very non-traditional black velvet coat and skirt and a lace blouse made from her grandmother’s christening robe. Two weeks after the wedding, Victor was sent overseas with A.I.F., serving much of the war as a prisoner of war in Thailand. During the war, Loma Lautour painted camouflage (the only woman among 400 men). In June 1946, her husband Victor was repatriated to Australia in poor health, exasperated by heavy drinking. On 21st July 1946, he was found dead at Lautour’s studio from ‘accidentally administered’ cyanide, afterward Lautour receiving a much-appreciated war widow’s pension.
In Sydney, Loma Lautour was an Associate of the Royal Art Society; exhibited at the Society of Artists and Contemporary Art Society; was a member of Women’s Industrial Arts Society, serving on its Council (1937) and was awarded a Prize for its Open Competition. In 1950, Loma Lautour moved to Brisbane where she exhibited with the Royal Queensland Art Society, the Moreton Galleries and Half Dozen Group of Artists. Her bohemian lifestyle continued in Brisbane and Stradbroke Island where she established a studio, orchard and vineyard. In 1962, she suffered a vicious sexual assault from which she never recovered, dying two years later of respiratory failure.
COLLECTIONS: Art Gallery of NSW; Queensland Art Gallery; Toowoomba Regional Gallery.
BIBLIOGRAPHY:
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015. HERITAGE: National Art Book by Joan Kerr; Sydney; 1995.
Australian Art Pottery 1900-1950 by Kevin Fahy, John Freeland, Keith Free & Andrew Simpson; Sydney; 2004.
ONLINE: Australian Dictionary of Biography; Design and Art Australia Online.
SOURCES: Sydney Sunday Times (25th March 1917); Sydney Morning Herald (30th August and 4th October 1919; 30th November 1933; 7th & 12th May & 30th June & 2nd, 9th & 31st July & 1st August & 22nd October 1936; 27th May & 15 June & 29th & 30th July & 10th August 1937; 06th January & 5th August 1938; 16th February & 7th & 21st July 1939; 5th & 30th April & 5th December 1940; 29th March 1941); Brisbane Courier (26th November 12th December 1921); Perth Western Mail (10/01/1929 p.10, (31/01/1929 p5); Clay Product Journal (December 1935, July 1936, July 1937, July 1939; November 1940); People (9th April & 10th May 1950); Australian Antique Collector (1986)); Queensland Art Gallery (Loma K. Latour Database and Scrapbook).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Latour (A.K.A. Lautour), Loma (Lorna) Kyleview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
LAUTOUR (A.K.A. LATOUR), LOMA (LORNA) KYLE
(born: Turnbull; Mrs Raymond Lindsay; Mrs Victor Clarence Jamieson )
[New South Wales, Queensland, Victoria, United Kingdom ]
BORN: 16th May 1902 at Mellool Station near Moulamein, Riverina, New South Wales DIED: 19th December 1964 at Brisbane, Queensland
Loma Lautour was a sculptor, ceramicist, painter, printmaker, jeweller, craftsperson, art teacher, artist model, thespian, and stylish bohemian. Loma Kyle Turnbull was the second child of George Stewart Turnbull [1863-1944] (station manager) and Louisa Elaine Scott [1863-1903] (a writer and china painter). After her mother’s death, Loma was raised by relatives in the United Kingdom where she was educated by governesses and at boarding schools. In 1914, Loma returned to Australia with a cultivated English accent, a rebellious free spirit and a passion for art. Instead of reuniting with her father who had remarried, Loma was taken in by relatives who were unable to control her, the adolescent running away repeatedly from home and boarding school. After a final climactic outburst, Loma abandoned her family for a Bohemian life in the ‘Big Smoke’ (Sydney) and in Melbourne. Here she changed her name to ‘Latour’ (often spelt Lautour) after her great-great-grandfather Lieutenant-General Peter Augustus Latour [1788-1866], an early pioneer of Western Australian and Tasmanian development. In March 1917, she passed the Red Cross Ambulance examination held in Sydney.
At age 14 years, Loma Lautour played walk-on parts with the Allan Wilkie Shakespeare Company [1916-1930], acting in melodramas in Melbourne. Between 1919 and 1922, she acted with J.C. Williamson, Fuller’s Dramatic Players and the Royale Dramatic Players including dramatic parts in The Girl Who Took Wrong Turn and A Beggar Girl’s Wedding in Sydney and playing the lead in Should A Wife Forgive and One Law for Both in Brisbane. Prophetically, these productions were a pointer to her later life.
Loma Lautour lived a bohemian life in King’s Cross, working as an actor, artist model and artist. On 28th December 1928, she married Raymond Lindsay [1903-1960] (artist, journalist and son of Norman Lindsay), but the marriage soon failed (divorce filed on 30th November 1933 and was official on 5th September 1940).
Loma Lautour probably received some artistic training in the United Kingdom before studying sculpture in Sydney [mid-1930s] under Rayner Hoff. While she does not appear to have been a regular student, she most likely was a paid artist model who Hoff allowed to attend his classes, she later claiming to be a disciple of the English sculptor Jacob Epstein [1880-1959].
When interviewed, Loma Lautour told the Sydney Morning Herald reporter (on 12th May 1936)
“... that she worked very quickly and without sketches. Two or three days of almost continuous work would suffice to produce a sculpture.”
At her solo exhibition in July 1936 at the Women’s Industrial Arts Society, the Sydney Morning Herald art critic stated (on 9th July 1936)
“Her work shows keen imagination and a notable skill in handling materials. It is when her innate simplicity and expressiveness are matched by a corresponding plainness in surface and texture that the effects are most striking. This appears in certain cases where the same design is reproduced in flat colour and again in heavy mottlings and an aggressively brilliant glaze. Two pairs of horses are among the most striking things in the show. There is much life; also a series of masks, some amusingly grotesque.”
The Art Gallery of NSW was impressed enough with the Egotist that it was acquired for its collection.
In the 1930s, Loma Lautour earned a reputation as an artistic innovator and modeller of figures. At the Royal Art Society Exhibition in 1937, the Sydney Morning Herald art critic commented (on 10th August 1937)
“...touching extremes of modern technique as practiced by the clever sculptor, Loma Lautour, to more conservative styles of work which are nevertheless beautiful, such as perfect studies of flowers by Mrs Marion Ferrier Jagger. Loma Lautour is of the younger school of artists. She studied with Rayner Hoff and is now a disciple as well as an admirer of Epstein. She has never been aboard but is anxious to go. There is little scope for her class of art in Australia, though the demand is always improving. Loma Lautour is highly original. She loves to experiment in new mediums. She used up more than £20 of silk not long ago, and oceans of time to work out a design in needlework; an odd departure for a sculptor. She wants £70 for the finished job and hopes someday to see it under glass used as a tabletop. At the Royal Art Exhibition, she is displaying what is sedately called a brass inlay panel. It is a full- length figure of a woman, and, interesting as it is as a design, it is eminently more interesting as a new medium. It is an experiment she thought out herself and is actually a kind of enlarged cloisonné. She used 75 feet of brass strips.”
Loma Lautour’s good looks, stylish manner of dress, unconventional direct speech and artistic associations made her popular with the press who regularly interviewed and photographed her. She was very social during the late 1930s, making appearances at art shows, theatre and charity events and being prominently present at the annual Artist’s Club Balls, serving on its organising committee.
[NAS] “ Arabian Princess ”
1935-1936; ceramic with red-brown glaze; 15.0 x 11.5 x 10.5 cm; Mashman Brothers [1885-]1957], Sydney.
PROVENANCE
SCULPTED: 1935-1936 while working for Mashman Brothers Pottery in Sydney.
ACQUIRED: from private collector.
In circa 1935/1936, Loma Lautour was employed at Mashman Brothers Pottery [1885- 1957] where she modelled, pressed and moulded art deco items, but also fired her own artistic creations. In addition to exhibiting glazed ceramics, she also experimented with metal strips soldered together to form an inlayed relief. At her solo exhibition at the Castlereagh Fine Art Gallery in July 1938, she showed off her versatility and innovation by exhibiting heads and figures, panels, masks, garden pottery, linocuts and tapestries. During this period, Lautour also taught modelling and pottery from her Hunter Street studio and produced masks for theatre productions. In 1940, she was contracted by Disney to make dolls and other merchandise.
On 28th March 1941, Loma Lautour married Private Victor Clarence (a.k.a. Bill or Jamie) Jamieson [1905-1946] of Melbourne, the wedding taking place as a spur of the moment event before the soldier shipped out to the Pacific Theatre of War on 10th April. There were no guests, only a minister and witness, Loma wearing a very non-traditional black velvet coat and skirt and a lace blouse made from her grandmother’s christening robe. Two weeks after the wedding, Victor was sent overseas with A.I.F., serving much of the war as a prisoner of war in Thailand. During the war, Loma Lautour painted camouflage (the only woman among 400 men). In June 1946, her husband Victor was repatriated to Australia in poor health, exasperated by heavy drinking. On 21st July 1946, he was found dead at Lautour’s studio from ‘accidentally administered’ cyanide, afterward Lautour receiving a much-appreciated war widow’s pension.
In Sydney, Loma Lautour was an Associate of the Royal Art Society; exhibited at the Society of Artists and Contemporary Art Society; was a member of Women’s Industrial Arts Society, serving on its Council (1937) and was awarded a Prize for its Open Competition. In 1950, Loma Lautour moved to Brisbane where she exhibited with the Royal Queensland Art Society, the Moreton Galleries and Half Dozen Group of Artists. Her bohemian lifestyle continued in Brisbane and Stradbroke Island where she established a studio, orchard and vineyard. In 1962, she suffered a vicious sexual assault from which she never recovered, dying two years later of respiratory failure.
COLLECTIONS: Art Gallery of NSW; Queensland Art Gallery; Toowoomba Regional Gallery.
BIBLIOGRAPHY:
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015. HERITAGE: National Art Book by Joan Kerr; Sydney; 1995.
Australian Art Pottery 1900-1950 by Kevin Fahy, John Freeland, Keith Free & Andrew Simpson; Sydney; 2004.
ONLINE: Australian Dictionary of Biography; Design and Art Australia Online.
SOURCES: Sydney Sunday Times (25th March 1917); Sydney Morning Herald (30th August and 4th October 1919; 30th November 1933; 7th & 12th May & 30th June & 2nd, 9th & 31st July & 1st August & 22nd October 1936; 27th May & 15 June & 29th & 30th July & 10th August 1937; 06th January & 5th August 1938; 16th February & 7th & 21st July 1939; 5th & 30th April & 5th December 1940; 29th March 1941); Brisbane Courier (26th November 12th December 1921); Perth Western Mail (10/01/1929 p.10, (31/01/1929 p5); Clay Product Journal (December 1935, July 1936, July 1937, July 1939; November 1940); People (9th April & 10th May 1950); Australian Antique Collector (1986)); Queensland Art Gallery (Loma K. Latour Database and Scrapbook).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Martin Shirley Dorisview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MARTIN, SHIRLEY DORIS
(Mrs de Vocht)
BORN: 3rd November 1929 at Parramatta North (Carlingford), New South Wales DIED: 30th June 2003 at Sydney, New South Wales
Shirley Martin was ceramist, painter and textile designer who was noted for her Aboriginal motifs. Her parents were Spencer Clifton Martin [1901-1972], an Australian aboriginal hairdresser and gold prospector who was considered by his daughter to be artistic, and Lancaster-born Englishwoman Florence Taylor [1906-1968], Shirley having four siblings. In 1951, she married Gerard John de Vocht [1921-2004], a photographer with the Dutch Air Force, the couple having at least two children.
Shirley Martin was raised in near poverty at Uralla (50 miles north of Tamworth) and attended Uralla Central School until October 1942. Between 1944 and 1946, Shirley Martin received her artistic training attending classes on Fridays and evenings at East Sydney Technical College. During this period, she was employed by the Design Department of Silk and Textile Printers (STP) in Darlinghurst, where she undertook the technically challenging role of translating Australian artist Russell Drysdale’s paintings and drawings into multi-coloured screenprint designs for furnishing fabrics.
Between 1947 and 1949, Shirley Martin worked as a ceramic designer with Modern Ceramic Products (MCP) in Redfern, and as a textile designer at Tennyson Textile Mills in Gladesville. From 1950 to 1951, she worked at Coverings & Co in Mascot, where she produced complex multi- layered designs for jacquard weave furnishing fabrics, including the ‘Roses’ and ‘Poppies’ designs.
Shirley Martin was highly regarded by all her employers. During her career, she held numerous positions, always seeking more technically challenging projects and producing many marketable product designs, some incorporating Aboriginal motifs and symbols. Her freelance textile designs feature Australian flora such as native heath, flannel flowers and wattle. Her work was selected for international exhibition and for inclusion in numerous competitions. It was Shirley’s design that became the official towel for the 1956 Melbourne Olympic Games. Shirley de Vocht continued to work as an artist into the 1970s, painting flora and fauna, including endangered species such as the native cat, the quoll and the snowy numbat, onto mass-produced ceramic plates.
COLLECTIONS: Museum of Applied Arts and Science (Sydney).
MEDIA SOURCES: Uralla Times (29th October 1942); Australian Women’s Weekly (15th May 1974).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

de Vocht Mrs - Shirley Doris Martinview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MARTIN, SHIRLEY DORIS
(Mrs de Vocht)
BORN: 3rd November 1929 at Parramatta North (Carlingford), New South Wales DIED: 30th June 2003 at Sydney, New South Wales
Shirley Martin was ceramist, painter and textile designer who was noted for her Aboriginal motifs. Her parents were Spencer Clifton Martin [1901-1972], an Australian aboriginal hairdresser and gold prospector who was considered by his daughter to be artistic, and Lancaster-born Englishwoman Florence Taylor [1906-1968], Shirley having four siblings. In 1951, she married Gerard John de Vocht [1921-2004], a photographer with the Dutch Air Force, the couple having at least two children.
Shirley Martin was raised in near poverty at Uralla (50 miles north of Tamworth) and attended Uralla Central School until October 1942. Between 1944 and 1946, Shirley Martin received her artistic training attending classes on Fridays and evenings at East Sydney Technical College. During this period, she was employed by the Design Department of Silk and Textile Printers (STP) in Darlinghurst, where she undertook the technically challenging role of translating Australian artist Russell Drysdale’s paintings and drawings into multi-coloured screenprint designs for furnishing fabrics.
Between 1947 and 1949, Shirley Martin worked as a ceramic designer with Modern Ceramic Products (MCP) in Redfern, and as a textile designer at Tennyson Textile Mills in Gladesville. From 1950 to 1951, she worked at Coverings & Co in Mascot, where she produced complex multi- layered designs for jacquard weave furnishing fabrics, including the ‘Roses’ and ‘Poppies’ designs.
Shirley Martin was highly regarded by all her employers. During her career, she held numerous positions, always seeking more technically challenging projects and producing many marketable product designs, some incorporating Aboriginal motifs and symbols. Her freelance textile designs feature Australian flora such as native heath, flannel flowers and wattle. Her work was selected for international exhibition and for inclusion in numerous competitions. It was Shirley’s design that became the official towel for the 1956 Melbourne Olympic Games. Shirley de Vocht continued to work as an artist into the 1970s, painting flora and fauna, including endangered species such as the native cat, the quoll and the snowy numbat, onto mass-produced ceramic plates.
COLLECTIONS: Museum of Applied Arts and Science (Sydney).
MEDIA SOURCES: Uralla Times (29th October 1942); Australian Women’s Weekly (15th May 1974).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Mimovich Leopoldine view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.

MIMOVICH, LEOPOLDINE (A.M.) (nee Poldi)
[ Victoria, New South Wales, Poland, Austria, France ]
BORN: 25th June 1920 at Pongua, Republic of Austria LIVING: 1949 to present at Australia
Leopoldine Mimovich was born Leopoldine Poldi in Neumarkt, Pongau Region of Republic of Austria, Leopoldine having four siblings. In 1938, she married Othmar Vockner, who was tragically killed on the Russian front on 21st February 1941. In 1949, she married Ljubisa (Leo) Mimovich, a Serbian, who had been held in a prisoner of war camp near her village. In the same year, the couple immigrated aboard the MV Skaugum to Australia where they were initially sent to the Bonegilla Reception and Training Centre in Northern Victoria before being transferred to the Royal Park Migrant Camp in Melbourne.
Leopoldine Mimovich showed artistic talent at an early age, but her family’s financial circumstances and the Great Depression prevented her from going to art school. At 14 years of age, she apprenticed with her father who taught her gilding, signwriting and stencil work. In 1939, she attended the Vienna’s Academy of Fine Arts under the Professor Gusty Mundt-Amman, but the German occupation during World War II closed the school in 1944 and she was forced to work in an ammunition factory. After the war, she finished her art studies in the School of Religious Art and School of Wood Sculpture in Hallstatt, Austria, graduating in 1947.
After immigrating to Australia, Leopoldine was befriended by Australian sculptor Ola Cohn [1892-1964], who was well-known for her Fairies Tree in the Fitzroy Gardens, Melbourne. Leopoldine found employment with the Myer Department Store where she worked in the furniture carving department and took personal carving commissions among Melbourne’s Catholic community. Her first substantial sculpture was a 5.5-meter-high alter piece a Catholic Church at Maryville, New South Wales, afterward working as a full-time sculptor and artist.
From her Melbourne studio, Leopoldine Mimovich took commissions and produced sculpture that reflected a departure from her conservative training and was more free-flowing and executed in a variety of materials. In 1985, Leopoldine Mimovich was awarded the Order of Australia Medal (AM) for Services to Sculpture.
COLLECTIONS: Museum of Victoria.
BIBLIOGRAPHY: Sculpture of Leopoldine Mimovich”, Spectrum Publications, Richmond, 1977.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Ohlfsen Adela Dora view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.

OHLFSEN, ADELA DORA
(a.k.a. Ohlfsen-Bagge)
[ New South Wales, Germany, Russia, Baltic Countries, Italy, France, United Kingdom ]
BORN: 22nd August 1869 at Ballarat, Victoria
DIED: 9th February 1948 at Rome, Italian Republic
Dora Ohlfsen was an Australian expatriate sculptor (modeller, carver and caster), medallist, painter, muralist, pianist, music teacher and journalist. In 1857, her parents Christian Hermann Ohlfsen-Bagge [1825-1908] (architect and civil engineer; born of Danish parents on the border between Denmark and Prussia) and Kate Harrison [1840-1914] (born at Melbourne) married, Dora having at least nine siblings (Alma Louise [1858-1858], Hermine [1859-1942; Mrs Francis Bayley], Emily Jane [1861-1934], Florence Kate [1863-1946; Mrs Charles Maltby], Francis Wulf [1865-1866], Alice Adela [1867-1868], Margarite [1871-1912], Pauline Louisa [1875-1960; Mrs Charles Crossfield; Mrs Charles Hume] and Kate Harrison [1880-1953; Mrs Lionel MacArthur] Ohlfsen-Bagge). Christian Ohlfsen-Bagge had arrived in Australia during the gold rushes and by 1854 had established himself as an architect. From 1855, he designed and managed the construction of Coppin’s Theatre and other structures in Melbourne, and in 1858, was responsible for the decoration of Melbourne’s Synagogue. In the 1860s, he moved to Ballarat where he was responsible for building of the Gang Gang Reservoir which provides the city’s water supply and later to Sydney where he was the engineer-in-chief for the NSW Water and Sewage Department. Dora claimed that her great-grandfather was the Sydney convict printer, Robert Howe. The Ohlfsen-Bagge family was quite musical with Dora’s sister Rita achieving some success as a concert pianist in both Australia and England. In circa 1872, Emile Ohlfsen-Bagge (possible cousin) arrived from Hamburg after studying music at Conservatory in Berlin and gave lessons in piano, singing and German in Sydney.
Dora Ohlfsen was raised in Sydney where she attended Sydney Girls High School and studied piano privately with Max Volgrich [1852-1915] and Henri Kowalski [1841-1916]. In 1893 at age 24 years, she travelled alone to Imperial Germany to study music, especially the piano under Moritz Moszkowski [1854-1925] in Berlin, where she met Dame Nellie Melba. Dora contracted neuritis, which end any chance of a concert career, later teaching music in Imperial Germany and later in the Russia Empire where she lived in St Petersburg with a Madame Kerbitz. Dora Ohlfsen took up painting, selling one of her works to the Tsarina. Ohlfsen’s extensive knowledge of languages gained her employment with the American ambassador and enabled her to write for a variety of Russian, American, Italian and Australian newspapers on music, theatre, drama and art.
After travelling through Sweden-Norway, Finland and other Baltic countries, Dora Ohlfsen settled in Rome in the Kingdom of Italy. She had influential letters of introduction from St Petersburg and in 1902, gained admittance to the prestigious French Academy at the Villa Medici where she studied sculpture under the former winner of the Prix de Rome Camille Alaphilippe [1874-after 1934] and model-making under noted French medallist Pierre-Victor Dautel [1873- 1954], for a time studying in Paris under the French medallist Alphee Dubois [1831-1905]. She also studied painting at the Spanish Academy in Rome. Ohlfsen set up a studio-apartment on via San Nicola, close to the Spanish Steps, and Rome remained her home until her death.
Dora Ohlfsen became renowned for her bronze, silver, lead, gesso and plaster medallions and medals, exhibiting at the Paris Salons and other European Galleries. Although continuing to paint in watercolour and pastel, during the first two decades of the 20th century she produced mainly medallions and medals, her subjects being both imaginative symbolist compositions and academic portraits, the latter being drawn from the wealthy and famous in Rome, England and Australia. In 1906, she was in London where she was producing portrait medallion that were cast in silver. In July 1908, she was awarded a prize for her medallions by Princess Alexandria of Teck at the Franco-British Exhibition. In 1908. An Italian reporter commented
“The portraits of men’s character and those of women breathe a spirit of grace such as even some of the great masters have not always known how to express.”
Argus (19th September 1908).
On 28th June 1912, Dora Ohlfsen and her terminally ill sister Rita returned to Sydney aboard the G.M.S. Roon, Rita dying a short time later. During her fifteen month visit in Australia, Dora Ohlfsen exhibited at the Royal Art Society, attended numerous social functions, created medallions and busts of local identities (which were later cast in bronze in Paris) and was awarded a commission for a 4 by 24 feet bronze panel, A Roman Chariot Race, which was to be erected on the façade of the Art Gallery of NSW by the end of 1914. However, the outbreak of the Great War delayed its casting due to metal shortages and a visitor to her studio saw the finished plaster on her studio wall in 1933. On 20th October 1913, she departed Sydney aboard the Scharnhorst
to return to Rome.
In circa 1930, Dora Ohlfsen studied and took-up mural painting to add to her artistic
endeavours, her mural of St Anthony of Padua containing an abundance of Australia flowers, birds and other motifs. During World War I, she became a qualified Red Cross nurse, treating soldiers fighting on the front between Austro-Hungarian Empire and Kingdom of Italy in the north of the Italian peninsula. In order to aid Australian soldiers, she designed, and paid for the casting of the Anzac Medallion which was sold to raise funds for disabled soldiers.
On 3rd August 1920, Dora Ohlfsen arrived at Sydney aboard SS Orontes. In November 1920, she had a solo exhibition of bronze medallions and pastel paintings at her studio at 110 Bathurst Street. On 28th January 1922, she set sail to return to Rome, never visiting Australia again.
Between 1924 and 1926, the Fascist government briefly patronised her work, producing a larger-than-life war memorial, The Sacrifice at Formia, Caserta, Campania. Dora Ohlfsen had received this commission to design this memorial from Prime Minister Benito Mussolini because her art studies had been solely in Italy and she had nursed Italian soldiers during the war. This is the only work of its kind in Italy to be made by a woman or a foreigner. However, when World War II broke out, Dora Ohlfsen and nine other Australian women living in Italy were detained by the authorities and not allowed to leave Italy.
On 8th February 1948, Dora Ohlfsen and her companion, the Russian Baroness Helene de Kuegelgen [1879-1948], were found gassed in Dora’s studio in Rome, an inquest declaring the deaths to be accidental.
COLLECTIONS: National Gallery of Australia; Art Gallery of NSW; National Gallery of Victoria; Australian War Memorial; National Library of Australia; Ballarat Fine Art Gallery; University of Sydney; Powerhouse Museum British Museum; Petit Palais (Paris); University of Glasgow.
BIBLIOGRAPHY:
Australian Women Sculptors: Women’s Work in Three Dimensions [1788-1940] by David Angeloro; Sydney; 2015.
HERITAGE: National Art Book by Joan Kerr, 1995. Australian Sculptors;
Encyclopedia of Australian Artists;
Ladies Picture Show;
Who's Who in International Art and Antique, Melrose Press, Cambridge, UK 1976.
MEDIA SOURCES: ARGUS (1st January 1855; 19th April 1855; 13th September 1858); Launceston Examiner (17th January 1894; 19th September 1908; 25th January 1922); Sydney Morning Herald (17th May 1892; 20th December 190; 20th May & 4th August 1908; 1st & 17th July & 11th September 1912; 2nd September & 22nd October 1913; 7th April 1914; 6th August & 9th November 1920; 24th January & 8th November 192; 14th February 1925; 20th July 1926; 6th January 1927; 21st February 1935; 10th February 1948); Adelaide Register (4th September & 22nd October 1906; 16th March 1907; 19th June 1912); Adelaide Advertiser (4th July 1908); Canberra Times (21st February 1948); Rockhampton Morning Bulletin (5th October 1940).
“ Sacrifice ”
at Formia, Italian Republic 1926; bronze on stone pedestal.
[Included are over 5o titles of exhibited works by Ohlfsen]
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Pate Klytie (nee Sclater)view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
PATE, KLYTIE
(nee Sclater)
BORN: 20th October 1912 at Melbourne, Victoria DIED: 10th June 2010 at Melbourne, Victoria
[ Victoria ]
Klytie Pate was a studio potter, sculptor, painter, printmaker and art teacher. She was born Clytie Winifred Wingfield Sclater to Alexander Sclater [1868-1937], a metallurgist, and Florence Yandell [1885-1959], who abandoned her husband and four children in circa 1917. At age 13 years, Klytie went to live in Ivanhoe with her aunt and uncle, Christian and Napier Waller, both well-known artists. On 26th August 1938, Klytie married fellow pottery student William Arthur Pate [1911-1997], who later became a commercial artist and designer, the couple having no children.
In 1931, Klytie Sclater studied modelling with the sculptor Ola Cohn [1892-1964] afterward attending classes at the National Gallery School. In 1933, Klytie transferred to the School of Applied Art at Melbourne Technical College (RMIT) to study figure drawing and applied design under Napier Waller [1893-1972], sculpture and modelling under George Allen, and pottery under Gladys Kelly [1907-1942] and John Knight [1910-1993]. In 1937, Klytie joined Kelly and Knight in the pottery department as a teacher in training with increased responsibility from 1939 with the ill-health of Kelly and war service (1942-1945) of Knight.
Between 1941 and 1998, Klytie Pate held regular exhibitions of her pottery, the first at Kozminsky Galleries, and the last at Distelfink Gallery, also exhibiting in Adelaide, Sydney, Brisbane and Hobart. In 1947, Klytie Pate and Allan Lowe [1907-2001] were the first contemporary Australian potters to be represented in the collection of the National Gallery of Victoria, and in 1983, she was the first woman potter given a retrospective by the Gallery. Klytie Pate was awarded a Bronze Medal for her work in the 1956 Olympic Games Exhibition in Melbourne. In 1991, she was awarded a Medal of the Order of Australia for service to the arts, particularly ceramic art and sculpture.
Klytie Pate’s early work was strongly influenced by the spiritualism and abstract art deco vocabulary of her aunt, Christian Waller. Pate often used otherwise undecorated forms, such as a ginger jar, as vehicles for her stunning glazes, but she is generally associated with carved and pierced pots. The pierced pots were mostly made after she retired from RMIT, when she had the ‘time and patience’' to make them. Her motifs, although sometimes abstract, geometric or architectural, were often nature-inspired animals, birds and flowers.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Sclater Klytie (later Klytie Pate)view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
PATE, KLYTIE
(nee Sclater)
BORN: 20th October 1912 at Melbourne, Victoria DIED: 10th June 2010 at Melbourne, Victoria
[ Victoria ]
Klytie Pate was a studio potter, sculptor, painter, printmaker and art teacher. She was born Clytie Winifred Wingfield Sclater to Alexander Sclater [1868-1937], a metallurgist, and Florence Yandell [1885-1959], who abandoned her husband and four children in circa 1917. At age 13 years, Klytie went to live in Ivanhoe with her aunt and uncle, Christian and Napier Waller, both well-known artists. On 26th August 1938, Klytie married fellow pottery student William Arthur Pate [1911-1997], who later became a commercial artist and designer, the couple having no children.
In 1931, Klytie Sclater studied modelling with the sculptor Ola Cohn [1892-1964] afterward attending classes at the National Gallery School. In 1933, Klytie transferred to the School of Applied Art at Melbourne Technical College (RMIT) to study figure drawing and applied design under Napier Waller [1893-1972], sculpture and modelling under George Allen, and pottery under Gladys Kelly [1907-1942] and John Knight [1910-1993]. In 1937, Klytie joined Kelly and Knight in the pottery department as a teacher in training with increased responsibility from 1939 with the ill-health of Kelly and war service (1942-1945) of Knight.
Between 1941 and 1998, Klytie Pate held regular exhibitions of her pottery, the first at Kozminsky Galleries, and the last at Distelfink Gallery, also exhibiting in Adelaide, Sydney, Brisbane and Hobart. In 1947, Klytie Pate and Allan Lowe [1907-2001] were the first contemporary Australian potters to be represented in the collection of the National Gallery of Victoria, and in 1983, she was the first woman potter given a retrospective by the Gallery. Klytie Pate was awarded a Bronze Medal for her work in the 1956 Olympic Games Exhibition in Melbourne. In 1991, she was awarded a Medal of the Order of Australia for service to the arts, particularly ceramic art and sculpture.
Klytie Pate’s early work was strongly influenced by the spiritualism and abstract art deco vocabulary of her aunt, Christian Waller. Pate often used otherwise undecorated forms, such as a ginger jar, as vehicles for her stunning glazes, but she is generally associated with carved and pierced pots. The pierced pots were mostly made after she retired from RMIT, when she had the ‘time and patience’' to make them. Her motifs, although sometimes abstract, geometric or architectural, were often nature-inspired animals, birds and flowers.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Kosturkov Georgeview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
KOSTURKOV, GEORGE
BORN: 1942 at Bulgaria
LIVING: 2019 at Darlington, Western Australia
[ Western Australia, Bulgaria ]
George Kosturkov received his artistic training at the Academy of Art in Sofia, Bulgaria before immigrating to Australia in 1968. He soon established a Studio and Gallery at Darlington, Western Australia, working and exhibiting sculpture in bronze, aluminium, copper and stainless steel at numerous exhibitions throughout Australia. He has completed a number of major commissions since 1979, as well as award pieces for Australian Tourism Awards, the Citizen of the Year Award, the Western Australian Institute of Sport Athlete of the Year Award, the Flag International Excellence Award, the Formula 3000 Award, the Hopman Cup Participant Sculpture, the Honda Australia Dealership Award, the Golf Media Group Western Australia Award, Alcoa of Australia Ltd Award and the Agricultural Man of the Year Award for eight years.
Over the years George Kosturkov has designed and constructed many monumental commissions, including (1979) The Family at Cambridge Street Medical Centre, Wembley, (1980) Yesterday Today at the Chamberlain John Deere, Welshpool, (1983) Life at Eastpoint Plaza in Adelaide Terrace, Perth, (1983) Kinetic at the City of Bayswater Administrative Centre, (1990) Sand, Wind and Sea for the City of Mandurah Administrative Centre.
In Western Australia, George Kosturkov currently exhibits at Kosturkov Sculpture Studio & Gallery in Darlington, Yallingup Galleries in Yalligup and the Boranup Gallery in Margaret River. In 1973, he exhibited at the Churchill Gallery in Subiaco, in 1974 at the Waterway Farm Studio in Byford, in 1975 at the Perth Concert Hall and in 1978 at Allendale Square. Between 1985 and 1992, he exhibited at the Beaver Galleries in Canberra, ACT and has also exhibited overseas.
MEDIA SOURCES: Canberra Times (20th November 1979; 11th, 13th & 24th July 1985; 3rd September 1988; 25th January 1992)
BIBLIOGRAPHY:
Sculpture by Kosturkov by George Kosturkov; Osbourne Park, W.A.; 1992.
Western Australian Parliamentary Statement - George Kosturkov; accessed 2013 : http://www.parliament.wa.gov.au/Hansard%5Chansard.nsf/0/19c8c032f62447fa48257c0f002199c9/$FILE /C39%20S1%2020131023%20p5362b-5363a.pdf .

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Anderson Wallaceview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
ANDERSON, WILLIAM WALLACE
[ Victoria, Australian Capital Territory, United Kingdom, Europe ]
BORN: 20th January 1888 at Dean Marsh, Victoria DIED: 7th October 1975 at Geelong, Victoria
Wallace Anderson was a sculptor, potter, medalists, painter and art teacher. His parents were William Anderson [1854-1898], farmer and member of the Legislative Assembly, and Helen Glover Naples [1856-1940], Wallace having eight siblings (Marion [1854-????], Albert [1885- 1917], (his twin) Helen [1888-1972], Jennie [1889-????], Percy [1891-????], Florence [1895- 1960], Sara [1897-1976] and Adele [1897-1978] Anderson). In 6th May 1916, he married Gladys Ada Andrews [1890-1952], the couple having at least three children.
Wallace Anderson attended Geelong College (1902-1903) and studied engineering and art studies at Geelong’s Gordon Technical College (1904-1913) where he took modelling-classes and wood-carving under John R. Tranthim-Fryer [1856-1928] and Albert Edward Anderson [1875- 1932]. In 1911, Wallace was appointed Assistant to the Art Master and in 1932 Art Master at the College. In Melbourne about 1914, he attended night-classes for life-drawing, given by Charles D. Richardson [1853-1952] at the Victorian Artists Society, and drawing at the National Gallery Schools, while teaching art by day at Sunshine Technical School (from July 1913). After the war, Wallace Anderson attended Chelsea Polytechnic in London.
In June 1915, Wallace Anderson enlisted in the Australian Imperial Force and by 1917 was serving in France as a Lieutenant in the 23rd Battalion, was wounded in June 1917, a few months after his elder brother Albert was killed in action in Egypt. In April 1918, Wallace Anderson was appointed Museums Officer and Sculptor to the A.I.F., based in the Australian War Records Section, London, with sculptors William Bowles [1885-1954] and Web Gilbert [1867-1925]. Anderson toured battlefields in France, Egypt and Palestine, making models of the landscape and gathering records for use in later works.
In 1920, Wallace Anderson returned to Melbourne and continued working with the Australian War Museum, producing models, dioramas and sculpture in an annexe of the Exhibition Building. From 1930, he engaged in private practice as a sculptor, in 1944 moving to Canberra, where he worked for the Australian War Memorial (1944-1946). After returning to Melbourne, he taught modelling at Footscray Technical College, but by 1947 had resumed his own work, though he ceased large-scale sculpture.
Wallace Anderson produced a number of monumental bronze war memorials and memorial portraits for Melbourne and for Victorian country towns. One of the earliest was Spirit of Anzac (1928), situated in Johnstone Park, Geelong. His most famous work is Simpson and His Donkey (1935), which he completed after winning a competition conducted by the Victorian Division of the Australian Red Cross, his fee being £350 and casting by the Chiurazzi Foundry, Naples, Italy. The work stands at the Shrine of Remembrance, Melbourne, and has become well-known as a symbol of the Anzac tradition.
In 1937, Anderson completed a life-sized, bronze King George V for Geelong. Between 1939 and 1945, he executed a series of nine busts of Australian Prime Ministers for the Botanic Gardens, Ballarat. One of his last public works, a figure of a soldier in bronze (1950) was installed in the Box Hill Town Hall’s War Memorial.
From 1911, Wallace Anderson exhibited with the Arts and Crafts Society in Melbourne. Between 1915 and 1936, he exhibited with the Victorian Artists Society and also occasionally with the Australian Sculptors’ Society, the Victorian Sculptors’ Society and the Australian Academy of Art. He exhibited at the Bread and Cheese Club (of which he was a member) and held one-man shows in Melbourne at Tye’s Gallery (1953) and the Joshua McClelland Print Room (1967).
COLLECTIONS: Australian War Memorial; Museum of Victoria; Geelong Art Gallery; Melbourne’s Shrine of Remembrance; Ballarat and Geelong Botanical Gardens.
BIBLIOGRAPHY:
Real Life Portrait - the Life of Wallace Anderson, Australian War Artist by Anderson & Roderic; Newport, NSW; 2010.
MEDIA SOURCES: Geelong Advertiser (11th January 1905; 15th January 1906; 22nd February & 17th July 1907; 1st March 1910; 21st February & 26th April 1911; 9th March 1912; 4th April & 5th July 1913; 30th June 1915; 27th June 1917).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Apte Roger Davidview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
APTE, ROGER DAVID
BORN: 1952
LIVING: 2019 at Sydney, New South Wales
Roger Apte is a sculptor (carver, modeller and caster), designer and art teacher. Originally educated in industrial and interior design, he taught himself sculpture and in 1992 undertook a study tour of Italy and Germany to study their styles and carving techniques. He produces sculptures in bronze, sandstone, limestone, ceramics, plaster, concrete, wood, and other materials. His work ranges from small pieces for the home or garden to monumental sculpture suitable for civic venues.
Roger Apte has been awarded a number of art prizes for his sculpture and his background in industrial design and interior design has enabled him to win a number of private and corporate commissions, including the 1998 and 1999 National Rugby League Trophy; the Arthur Beetson Trophy for Harvey Norman Rugby League All-stars; and Woolmark International Prize. The RSPCA commissioned several metal sculptures for their Memorial Garden, including Working Animal Memorial sculpture, Memorial Plaque Panels and Water Feature Panels.
Roger Apte was a prominent member of the Australian Sculptors’ Society, serving as its Vice President (1993-1994).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Bass Tomview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
BASS, TOM (THOMAS) DWYER (AM; DVISARTS)
[ New South Wales, Queensland, Australian Capital Territory, Europe, USA ]
BORN: 6th June 1916 at Lithgow, New South Wales DIED: 26th February 2010 at Sydney, New South Wales
Thomas Bass was a sculptor (modeller, caster and carver) and art teacher. His parents were Charles William Bass [1887-1951], a rural baker, and Emmeline Bateman [1884-1973], Tom having three siblings (Karl Venning [1910-1989], Rex R. [1914-1914] and Ivo C. [1917-1920] Bass). The Bass family was raised in Griffith, Erskineville, Parkes and Gundagai before settling in Marrickville (Sydney) in 1924. In 1941, he married fellow art student Lenore Rays [1917-????], afterward living in Minto until 1975 when they separated and divorced (1981). In the early 1980s, Bass met and married his second wife, Margo Hoekstra [????-????].
Even though jobs were scarce, the Great Depression forced Tom Bass to leave school in 1931 to seek work in the country districts. At 21-years-old, he returned to Sydney, where he posed as a life model at several art institutions, eventually commencing his art studies (1937-1940) at Dattilo Rubbo’s Atelier. Between 1939 and 1948, he served in the Army Citizen Military Forces, initially at Bathurst and later Sydney. Following his discharge from National Service, Bass attended the National Art School (1946-1948) under the Commonwealth Reconstruction Training Scheme. During this time, he
was taught by the Head of the
Sculpture School, Lyndon
Dadswell, with whom he later
worked as his Assistant (1949-
1950). Bass undertook two
study trips abroad, in 1962 to
Europe and in 1969 to the
United States, coinciding with
the Washington DC
commission. On this latter trip
he met Australian expatriate
sculptor, Clement Meadmore
[1929-2005], and was inspired
by the work of David Smith
[1906-1965].
Bass’s artistic interests focused on the function of sculpture in society, and how it could be used to represent people and communities. He developed a philosophy of working with totemic forms and emblems to create works of significance to the people that they serve. To Bass, the totem was defined as
“an object that is so imbued with the meanings and the values of the people for whom it is made, that they can stand around it (the object) and connect with those things without a word being uttered...that to me is a totem, and that is the thing that has really inspired my work.”
During the 1950s and 1970s, Tom Bass received more Australian architectural sculpture commissions (more than 60 major pieces) than any other sculptor, including works for commercial enterprises, educational institutions, religious organisatons and government. In the 1970s, Bass changed direction, focusing on personal sculptures and teaching the next generation of Australian sculptors at the National Art School and from 1974, the Tom Bass Sculpture School on Broadway, Sydney. In 2003, Tom Bass handed the school over to a management committee, as it became an incorporated, not-for-profit association. In 1980, Tom Bass held his first solo exhibition at the David Jones Art Gallery.
Between 1951 and 1964, Tom Bass was a member of the Sculptors’ Society, occupying the executive positions of President, Treasurer and Secretary during this period. In 1988, Tom Bass was appointed a member of
the Order of Australia (AM)
and in 2009, awarded a
Doctor of Visual Arts
(DVisArts) by University
of Sydney. A retrospective
of his work, spanning 60
years, was exhibited at the
Sydney Opera House
between 9th November and
17th December 2006.
BIBLIOGRAPHY:
Tom Bass, Tom Bass Sculpture School Inc by G. Carson; Erskineville; 2006.
Tom Bass: Totem Maker by Tom Bass & H. Smart; Melbourne; 2006.
Set in Stone by Margo Hoekstra; Sydney University Alumni Magazine; Sydney; 2009.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Boyd Guyview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
BOYD, GUY MARTIN À BECKETT
[ Victoria, New South Wales, United Kingdom, Canada, USA ]
BORN: 12th June 1923 at Murrumbeena, Victoria DIED: 26th April 1988 at North Brighton, Victoria
Guy Boyd was a sculptor, ceramist and environmental activist. He was a member of the Boyd family of Australian artists; his parents were studio potter Merric Boyd [1888-1959] and Doris Gough [1888-1960], Guy having four siblings (Lucy [1916-2009], Arthur [1920-1999], David [1924-2011] and Mary [1926-2016] Boyd). In 1950, Guy married Barbara Dawn Cooper [1939-1989] and in 1952, Phyllis Emma Nairn [1926-2001], Guy Boyd having seven children. In 1976, he immigrated to Canada with his wife Phyllis and their four youngest children, settling in Toronto, but returned to Australia five years later, afterward visiting Canada for a time from 1985, spending a total of 6.5 years in North America.
In the early-1940s, Guy Boyd served in Army Citizen Military Forces, and for a time provided training in occupational therapy at Ingleburn. Afterward, he studied sculpture at East Sydney Technical College (1945-1947) under Lyndon Dadswell [1908-1986]. Guy initially focused on pottery from his studio in Ryde with partner Norma Flegg and from 1948 with New Zealand sculptor Lindsay Daen [1923-2001], who he had met at ESTC. In 1965, Boyd changed his emphasis to sculpture, creating editions of small figurative bronzes, but also received commissions to create monumental public sculptures, including a (1970) large relief at Melbourne’s Tullamarine Airport and another (1972) for Sydney’s International Airport. His work exhibits an appealing tactile sensual quality and a somewhat modernist design.
In the early 1970s, Guy Boyd became a passionate campaigner for conservationist causes and the preservation of historic buildings. In 1968, he was awarded a Churchill Fellowship to study art overseas, having a solo exhibition of his sculpture in London in July 1970. After moving to Canada and exhibiting at Montreal’s Dominion Gallery, Guy built up a clientele in Canada and United States. In 1985 and 1987, he had a solo exhibition of his sculpture at the Beaver Gallery in Canberra. In 1988, he was appointed the Art Advisor to Deakin University.
Collections: National Gallery of Victoria; Queensland Art Gallery; Victorian College of Arts.
Bibliography:
The Boyds by Brenda Niall; Melbourne; 2002.
Guy Boyd by Anne Von Bertouch and Patrick Hutchins; Lansdowne Press; 1976.
Justice in jeopardy: twelve witnesses speak out by Boyd, Guy; Victoria; Cheltenham, Victoria; 1984
Media Sources: Sydney Morning Herald (20th March 1945; 4th January 1947; 12th January 1948); Canberra Times (22nd May 1970; 2nd March 1985; 31st July & 6th August 1987); Australian Women’s Weekly (2nd February 1966; 22nd July 1970; 26th April 1972).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Boyd Mattview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.

BOYD, MATT (MATTHEW)
BORN: ???? LIVING: ????
Matthew Boyd is a sculptor (modeller and caster) and fine art foundry worker. In the 1990s, Matt Boyd worked at the Alan Crawford Foundry at Punchbowl, NSW.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Cherina Drago Marinview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
CHERINA, DRAGO MARIN
[ Europe, United Kingdom, Australia, Canada, Asia ] BORN: 1949 at Korčula, Republic of Yugoslavia (present-day Republic of Croatia)
LIVING: 2019 at Kaohsiung City, Taiwan
Drago Cherina was sculptor, painter and a bit of a rapscallion. He reputedly learned painting from Sylwan (unknown) and in London, sculpture from Croatian sculptor Osakar Nemon [1906- 1985] and for a time, was modernist sculptor Henry Moore’s assistant. Cherina allegedly has had more than 100 international exhibitions, his sculptures being displayed in Rome, Geneva, Paris, London, Lisbon, Vienna, Buenos Aires, Houston, San Francisco, Osaka, Tokyo and Australia.
Australian newspapers first mention Drago Cherina in 1972 when at the age of 23, he had a solo exhibition of paintings in Canberra, but no mention is made of his exalted training. By 1974, London newspapers referred repeatedly to ‘Yugoslav-born Australian artist Drago Cherina’. In 1974, Cherina completed his first bust cast in bronze, Alexandre Solzhenitsyn. In 1975, 25-year- old Cherina returned to Australia and stayed for about thirty years. In 1975, he modelled a bust, Prime Minister Gough Whitlam that was delivered the day after Gough was dismissed by the Governor General. Cherina also modelled bronzes busts of well-known people including Picasso, Marilyn Monroe, Salvador Dali, Akira Kurosawa and Federico Fellini.
For the 2000 Sydney Olympics, Cherina conceived the $100 million Millennia Nexus, a monument to the Olympic Games and the millennium beyond, to be built on a 16-hectare abandoned brick-pit next to the Games site. It was to consist of a rainforest, walkways and a dozen sculptures, all dominated by a 1,000-metre tower of solar-generated laser beams. The project was unceremoniously quashed by the Olympic Committee due to concerns of light pollution and that it would distract from the main event, but not before Cherina had built up debts of tens-of-thousands of dollars with a lending company financed by racing identity Robbie Waterhouse. Having put all of his artwork up as collateral for his debts, Cherina eventually lost his entire collection of over 100 paintings and sculptures, including his bronze of Henry Moore, to Waterhouse in 1997.12
In 2010, Cherina’s 6-meter high monumental bronze sculpture, Henry Moore, was installed in the Paterson Bush Park in Yeoval. Mathy a bronze statuette by Cherina is awarded to the annual winner of the IFAC Australian Singing Competition and in 2018, Cherina’s Cellist Jacqueline du Pre was installed at the Kensington Park Community Centre in Kensington, Sydney. A bust of Mahatma Gandhi is installed in Shanghai's New Town Central Park.
COLLECTIONS: National Library of Australia; Jeddah Sculpture Museum (Saudi Arabia).
BIBLIOGRAPHY:
Cherina: Roma '74 / Drago Mario Predrag Cherina by Galleria Astrolabio Arte; Rome; 1974.
Drago Predrag Cherina by Cremorne Art Gallery; Perth; 1972.
Drago Marin Cherina, Sculptures 1967-1977 by Taipei Fine Arts Museum; 1992.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Collins Benjaminview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
COLLINS, BENJAMIN BORN: 1910 at United Kingdom
DIED: 2000 at Sydney, New South Wales
[ New South Wales, United Kingdom, Europe, USA, Africa ]
Benjamin Collins was a sculptor (modeller, caster and carver), painter, industrial designer, ceramist and musician. He was a bit of a Bohemian, having in addition to his sculpture and industrial design endeavours, having performed concerts in Berlin and all over Europe, including playing the trumpet for the Queen of Spain, raising coffee in East Africa, where he was also was involved in big-game hunting, and allegedly introducing the samba to Great Britain.
Benjamin Collins initially studied music at Guildhall School of Music and at 15 years of age was a member of Sir Landon Ronald’s Orchestra. He received his artistic training at the Central School of Art (London) under English sculptor Henry Paget [1857-1936] and at Akademic Das Kunsler in Berlin between 1927 and 1930. Until 1933, Collins primarily worked as a musician, but afterward as an industrial designer, sculptor and ceramist and assisted (1939-1940) in the studio of Sir Jacob Epstein. By the 1940s, Collins was head of Art Plastic Studios Ltd in St John Woods, London and exhibited at the Modern Galleries, Reading Museum and London’s Royal Academy before immigrating to Australia.
On 12th January 1949, Benjamin Collins arrived by air in Sydney on a visit of Australia. He later flew to Perth in search of Deep-Sea Dweller, a sculpture in red alabaster that he had exhibited at the Royal Academy in 1945. It had been acquired by an Australian and Collins hoped to borrow it for exhibition in Australia. Ben was so impressed on what Australia had to offer, he flew back to England to return with his family and possessions. On 23rd April 1949, the Collins family arrived aboard the RMS Orcades in Sydney, where he hoped to escape the devastation of World War II.
Ben Collins soon set up a studio in Alexandria with Vernon Best [1920-????], a student of Lyndon Dadswell and Collins was soon considered a leading sculptor and industrial designer in Sydney. Collins had big plans, pitching a design to the Government for a 100-foot concrete figural war memorial to be located at Sydney Heads, the president of the Town and Country Planning Institute (C. J. Farrlneton) praising the idea as being first class.
Ben Collins worked from his own studio with a number of assistants and trainee craftspersons. He received several important sculpture commissions included the foyer of the IBM Building, fountains and wall decorations at Japanese Consulate, and presentation portrait of Max Freilich. Ben Collins’ (1952) Mau Mau and (1953) Ballet, were finalist entries in the Art Gallery of NSW’s prestigious Wynne Prize with sculpture entries.
MEDIA SOURCES: The West Australia (13th January 1949); The Sun (23rd & 26th April, 3rd May & 8th June 1949); Melbourne Herald (8th February 1950).
[128] “ Australian Venus ”
1970s; bronze with silver patina
and white marble base;
45.0 x 18.0 x 12.0 cm; Edition: 3 of 10; Inscribed: “ B. Collins 3/10” (base).
PROVENANCE:
CAST: 1970s by Ben Collins; ACQUIRED: 1995 from Ben Collins.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Daly Gregview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
DALY, GREG
BORN: 1954 at Melbourne, Victoria LIVING: 2019 at Cowra, New South Wales
[Victoria, New South Wales, ACT, Europe, United Kingdom ]
Greg Daly is a renown Australian potter, author and art teacher. He commenced his pottery studies in high school while working part-time in a ceramics supply shop. He completed a Diploma of Art in 1975 and a Fellowship Diploma in 1976 at Royal Melbourne Institute of Technology. After graduation, he established the Marra Pottery studio in North Mount Albert, Victoria but by 1985, had moved to Richmond, Victoria, and by 1990, to Raintree Marra, Cowra, New South Wales.
Since 1992, Greg Daly has lectured part-time at the Ceramics Workshop, National Institute of the Arts, the Australian National University, Canberra. His work, which focuses on vessel forms decorated with rich glazes and/or lustres, gold & silver leaf and enamels. Pieces are typically signed ‘Daly’ and marked with an impressed ‘GD’.
Greg Daly has had more than 100 solo exhibitions, nearly fifty percent being overseas, and has been included in countless group exhibitions. In 2002, he had a retrospective exhibition at the Bathurst Regional Art Gallery. He authored Glazes and Glazing Techniques; Simon & Schuster; 1995 and Lustre (Ceramics Handbooks); University of Pennsylvania Press; 2012, and has also produced instructional videos. He is a member of the International Academy of Ceramics and Geneva Arts, Science, Letters Academy (France). He has received more than 35 international awards. Recently he was visiting fellow at Australian National University’s School of Art & Design.
COLLECTIONS: National Gallery of Australia; Victoria and Albert Museum (London); Powerhouse Museum; Nordenfjeldske Kunstindustrimuseum (Norway); Obidos Museum (Portugal); Museum Zargreb (Croatia); Ceramic Museum Valiauris (France); Auckland Museum & Art Gallery (New Zealand); Decorative Arts Museum (Prague); Saga Prefectural Art Museum (Japan); and numerous others collections.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Doble Gilbert ‘Bertie’view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
DOBLE, GILBERT “BERTIE”
BORN: 8th March 1880 at Newton Abbot, Devon, England DIED: 17th or 27th July 1974 at Sydney, New South Wales
[New South Wales ]
Gilbert Doble was an Australian sculptor (modeller, carver and caster), stonemason, bronze caster and electrotyper.13 His parents were John Roberts Doble [1845-1885], an accountant, and Bessie Townsend [1845-1919] Doble, Gilbert having at six siblings (at least three dying as infants). Gilbert was born in England, his family immigrating to Melbourne aboard the Barque Carlisle Castle on 8th October 1883, soon afterward settling in Sydney. Gilbert had his studio and foundry in Marrickville, but by the 1930s, he had moved to Oatley and by 1960s, to Beverley Hills (all southern suburbs of Sydney), until his death, continuing to list himself as a sculptor.
In 1900, Gilbert Doble was already a prominent member of Sydney’s Stonemason Union, when he received his artistic training at the Sydney Technical College (1899- 1903) under Gregory Macintosh [1864-1938], where in 1900 Doble was awarded First Prize for Modelling. In the first-half of the 20th centuries, he was one of Sydney’s most successful sculptors,14 being one of a small number of Australian sculptors who did their own casting in bronze.
In 1905, Gilbert Doble was already receiving commissions for sculptural work, one of his first being a (1905) bronze bas-relief tablet, Memorial for Rabbi Alexander B. Davis [1828-1913], that Doble modelled and cast for Sydney’s Great Synagogue. In November 1908, Doble was awarded the £620 contract to create Bathurst’s Boer War [1899-1902] Memorial, one of the earliest war memorials in Australia, including a life-size bronze soldier, housed in a 32-meter-high stone canopy, with a granite base and bronze dome. For the commission, Doble modelled a life- size Australian soldier in Boer War uniform and cast it at his Marrickville foundry.
In August 1909, Doble was awarded the contract for four large bas-relief medallions (£30 each) for the Newcastle Jubilee Celebration, and in the same year, created the Paddington Municipal Jubilee Memorial and the Aerial League’s First Serial Flight Trophy awarded to Harry Houdini. In 1915, Doble won the design competition and was awarded the contract to create the Evan’s Centennial Memorial in Bathurst.
Gilbert Doble was one of the first to create a World War I memorial, creating a statuette (by July 1915), shortly after the disastrous landings of Australian forces at Gallipoli in February 1915. Memorial committees of three inner Sydney suburbs engaged Gilbert Doble, who took the unusual visual construct of a symbolic woman rather than a soldier for monuments. Doble was a self- declared ‘hater of war’, so there were no weapons or fighting poses in his work. Doble made the allegorical female figures in bronze. The unveiling of his female Victory on a column at Marrickville on 24th May 1919 attracted a crowd of 15,000. At Union Square, Pyrmont on 8th April 1922 a winged female figure holding a shield named Peace was unveiled and his Leichhardt monument, now in Pioneer Park, was unveiled the next day on 9th April 1922, a tall tapering granite pedestal with a bronze female figure, also named Peace with a wreath on her head. Doble’s design for a female trio of Victory, History and Fame at Wellington in Central Western New South Wales was described in 1923 as “one of the finest memorials in the Commonwealth”. At a time when war memorials were either a block of stone or had a soldier on a pedestal, Doble’s approach was distinctive, avoiding the militaristic nature war and concentrating on the peace and the mix of grief and motherly support to the fallen that his female figures depicted.
Sir Patrick (Bill) Gordon Taylor [1896-1966] flew the first heavier-than-air machine in the form of a motorless airplane in 1909, for which the Aerial League of Australia presented him with a shield, designed by Gilbert Doble, in recognition of this first flight. In 1919, Gilbert Doble was a finalist in the Art Gallery of NSW’s prestigious Wynne Prize with his Sculpture Group and is represented in the Art Gallery of N.S.W.’s Collection by a plaster relief St Cecilia (after Desiderio) which was donated (1941) by Australian sculptor George W. Hirst.
COLLECTIONS: Art Gallery of NSW.
Media Sources: Australian Star (26th March 1900); Evening News (29th May 1900); Daily Telegraph (24th January 1903; 11th December 1905; 3rd May 1910); Maitland Weekly Mercury (7th August 1909); Sydney Weekly Supplement to Building (24th January 1910; 2nd May 1910); National Advocate (10th November 1908; 25th May 1909; 31st July 1915); Bathurst Times (21st July 1915); Construction and Local Government Journal (30th July 1915).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Fleischmann Arthurview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
In August 1909, Doble was awarded the contract for four large bas-relief medallions (£30 each) for the Newcastle Jubilee Celebration, and in the same year, created the Paddington Municipal Jubilee Memorial and the Aerial League’s First Serial Flight Trophy awarded to Harry Houdini. In 1915, Doble won the design competition and was awarded the contract to create the Evan’s Centennial Memorial in Bathurst.
Gilbert Doble was one of the first to create a World War I memorial, creating a statuette (by July 1915), shortly after the disastrous landings of Australian forces at Gallipoli in February 1915. Memorial committees of three inner Sydney suburbs engaged Gilbert Doble, who took the unusual visual construct of a symbolic woman rather than a soldier for monuments. Doble was a self- declared ‘hater of war’, so there were no weapons or fighting poses in his work. Doble made the allegorical female figures in bronze. The unveiling of his female Victory on a column at Marrickville on 24th May 1919 attracted a crowd of 15,000. At Union Square, Pyrmont on 8th April 1922 a winged female figure holding a shield named Peace was unveiled and his Leichhardt monument, now in Pioneer Park, was unveiled the next day on 9th April 1922, a tall tapering granite pedestal with a bronze female figure, also named Peace with a wreath on her head. Doble’s design for a female trio of Victory, History and Fame at Wellington in Central Western New South Wales was described in 1923 as “one of the finest memorials in the Commonwealth”. At a time when war memorials were either a block of stone or had a soldier on a pedestal, Doble’s approach was distinctive, avoiding the militaristic nature war and concentrating on the peace and the mix of grief and motherly support to the fallen that his female figures depicted.
Sir Patrick (Bill) Gordon Taylor [1896-1966] flew the first heavier-than-air machine in the form of a motorless airplane in 1909, for which the Aerial League of Australia presented him with a shield, designed by Gilbert Doble, in recognition of this first flight. In 1919, Gilbert Doble was a finalist in the Art Gallery of NSW’s prestigious Wynne Prize with his Sculpture Group and is represented in the Art Gallery of N.S.W.’s Collection by a plaster relief St Cecilia (after Desiderio) which was donated (1941) by Australian sculptor George W. Hirst.
COLLECTIONS: Art Gallery of NSW.
Media Sources: Australian Star (26th March 1900); Evening News (29th May 1900); Daily Telegraph (24th January 1903; 11th December 1905; 3rd May 1910); Maitland Weekly Mercury (7th August 1909); Sydney Weekly Supplement to Building (24th January 1910; 2nd May 1910); National Advocate (10th November 1908; 25th May 1909; 31st July 1915); Bathurst Times (21st July 1915); Construction and Local Government Journal (30th July 1915).
In 1921, Fleischmann qualified as a dermatologist at Prague University, working at a Vienna hospital while concurrently studying sculpture. He was awarded a scholarship to attend Vienna’s Academy of Fine Arts’ Master School of Sculpture (1924-1928) under Austrian sculptor Josef Müllner [1879-1968], afterward receiving further artistic training in Prague (Czechoslovakia), Paris (France) and Padua (Italy). Afterward Fleischmann taught art at various institutions in Vienna, where he worked on various sculptural commissions. Between 1934 and 1937, he taught ceramics at the Women’s Academy of Art in Vienna, while undertaking practical experience at the Grumndner Keramik factory at Grumndner, Austria and for four years was Artistic and Technical Director of the Nike Ceramic Factory in Vienna.
From 1936, Arthur Fleischmann travelled extensively in South Africa and Zanzibar (1936- 1937) and Bali (1938-1939), escaping to Darwin just ahead of the Japanese invasion. For the next ten years, he lived and sculpted primarily in and around Sydney, becoming an Australian citizen in 1939. In 1941, he became a founding member of the Merioola Group and President of its artistic colony. The group took its name from the large house in Rosemont Avenue, Woollahra where Fleischmann lived with Donald Friend, Harry Tatlock-Miller, Edgar Ritchard, Lounon Sainthill, Jocelyn Rickards, Alec Murray, John Bannenberg, Justin O'Brien and Roland Strasser.
In March 1948, Arthur Fleischmann departed Sydney for London aboard the RMS Orion with fifty pieces of his sculpture carefully packed in various crates. Because of the political instability of Eastern Europe, he took up residence in London where he worked as a leading sculptor for most of his remaining career. He regularly exhibited at the Royal Academy, working in wide variety of media, including bronze and terracotta. In 1949, he pioneered the use of Perspex in sculpture, including some notable public pieces. Perspex quickly became the artist’s trademark as he began to develop the tools and techniques for working with this new material. Harking back to the Central-European traditions of glasswork, he carved small sculptures from Perspex as well as monumental compositions. His first Perspex work, entitled Runding and Rmpang returning from rice fields dates from 1949.
While in Australia, Fleischmann had a strong influence on contemporary Australian sculptors. He exhibited with Lyndon Dadswell in Melbourne, at the David Jones Art Gallery in Sydney with Daphne Mayo as well as in the Society of Artists and the Australian Academy. His major commissions included the Public Library and Conservatoire of Music (Sydney 1941); Memorial Fountain for Government House (Canberra 1945); Wishing Tree Memorial (Royal Botanic Gardens, Sydney 1946), Bronze Doors (Mitchell Wing of the State Library of NSW, 1946), Mermaid Fountain (Miranda 1951), The Twelve Apostles (West Germany 1951-52), Diana and the Hounds (London 1955) and created series of works for various ocean liners, including the Reina del Mar (1956).
COLLECTIONS: Art Gallery of NSW; National Gallery of Victoria; Queensland Art Gallery; State Library of NSW; National Portrait Gallery; Leeds City Art Galleries; Mestke Muzeum and Bratislava Municipal Art Gallery (Slovak Republic).
BIBLIOGRAPHY:
Bali through a sculptor's eyes : Arthur Fleischmann, 1896-1990 by Arthur Fleischmann, Joanna Barnes; 1994
Bali in the 1930's: photographs and sculptures by Arthur Fleischmann by Arthur and Dominique Fleischmann; 2007.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Hinder Frankview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
HINDER, FRANCIS (FRANK) HENRY CRITCHLEY
[ New South Wales, USA, United Kingdom, Europe ]
BORN: 26th June 1906 at Summer Hill (Sydney), New South Wales DIED: 31st December 1994 at Sydney, New South Wales
Frank Hinder was a painter, illustrator-cartoonist, printmaker, sculptor, art teacher and theatre designer. His parents were Dr Henry Vincent Critchley Hinder [1865-1913] and Enid Marguerite Pockley [1879-1970], Frank having three siblings (Maxwell Critchley [1902-1976], Eric Critchley [1905-1905], and David Clive Critchley [1910-1989] Hinder). Frank was raised in a grand Italianate Victorian mansion named ‘Carleton’ in Summer Hill (Sydney). In 1930, he married American sculptor Margel Ina Harris [1906-1995] and had at least one child.
Frank Hindered received his education at Newington College (1916–1918), where his Art Master was Dattilo Rubbo, and at the Sydney Church of England Grammar School. Hinder received his artistic training under Antonio Dattilo Rubbo [1870-1955] at the Royal Art Society of NSW between 1924 and 1927. On 24th December, Frank Hinder as one of 120 boys of the Young Australia League boarded the HMS Jervis Bay for a six-month tour of England, Scotland, Ireland, France, Belgium, Italy and Switzerland, returning on the 8th July 1925. On his returned, Hinder studied for an art Diploma (1925-1927) at East Sydney Technical College. On 27th August 1927, Hinder boarded the R.M.S. Aorangi for Vancouver, Canada via Auckland, Suva and Honolulu, travelling to the United States where he continued his art studies for six years at the Art Institute of Chicago, New York School of Fine Arts and the Master Institute of the Roerich Museum (New York), and Bisttram’s Summer School (Taos, New Mexico).
In 1934, Frank and Margel Hinder settled in Sydney where they crusaded for abstraction during the 1930s and 1940s and were founding members of the Contemporary Art Society. The Hinders possessed a strong interest in cubist and constructivist principles, theories of dynamic symmetry, and philosophies of theosophy and anthroposophy. Between 1939 and 1948, Frank Hinder served in the Australian Citizen Military Force, often assigned to paint camouflage. After World War II, Frank Hinder taught at the National Art School before being appointed Head of the Art Department of Sydney Teachers’ College (now part of the University of Sydney). In 1952, he was awarded the Blake Prize before becoming a Trustee of the Art Gallery of New South Wales and a Member of the Order of Australia (AM).
COLLECTIONS: National Gallery of Australia; Australian War Memorial; Art Gallery of New South Wales; National Gallery of Victoria; Art Gallery of South Australia; Mitchell Library (Sydney).
BIBLIOGRAPHY:
The Art of Frank Hinder by Renee Free and John Henshaw; Sydney; 2011 Frank Hinder Lithographs Hardcover by Lynn Bloomfield; Sydney; 1978.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Hoff Raynerview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
HOFF, GEORGE RAYNER
[ New South Wales, South Australia, United Kingdom, Italy, Austria ]
BORN: 27th November 1894 at Spring Valley, Braddan, Isle of Man
DIED: 10th November 1937 at Delaware Private Hospital, Waverley, New South Wales
Rayner Hoff was a Manx emigrant sculptor (modeller, carver and caster), medallist, art teacher and administrator. His parents were George Rayner [1866-1940] (bricklayer and restored ancient buildings) and Elizabeth Amy Coole [1868-1935], Rayner having five siblings (Alice [1893-????], Thomas [1896-1958], Sydney [1898-1962], Margaret Dorothy [1900-1973] and Amy [1901-1980] Hoff). On 30th June 1920, Rayner Hoff married Annis Mary Briggs [1892-1961] at Sutton in Ashfield (England), the couple having two children (Sandra Margaret Rayner [1922-1998] and Nerida Rayner [1930-1980] Hoff).
Rayner Hoff received his early artistic training from his father, who was a capable woodcarver and stonemason. In Nottingham after school, Rayner worked in a mason’s yard and later entered an architect’s office at age 14 years. Between 1910 and 1915, he studied drawing and design at Nottingham School of Art, where he was awarded Gold and Silver Medals for his sculpture. During World War I, he enlisted in 1915 and served in France in 1916, the following year being transferred to a topographical survey unit which made maps from aerial photographs. Returning to Nottingham after the war, he resumed his artistic studies at the Royal College of Art under Francis Derwent Wood [1871-1926], receiving his Diploma in Modelling and the Prize for Best Work in 1921. In the early 1920s, Hoff’s sculpture was exhibited at London’s Royal Academy.
Rayner Hoff won the prestigious Prix de Rome Scholarship in 1921, which enabled him to study in Rome, Florence, Naples and Vienna. In 1923, he was awarded the Royal Society of British Sculptors’ Diploma. After meeting the Australian architect Hardy Wilson at Naples, and discussions with Derwent Wood in London, Rayner accepted the appointment as teacher of drawing, modelling and sculpture at East Sydney Technical College (ESTC), being officially appointed on 24th May 1923 and arriving in Sydney on 23rd July 1923.
At ESTC, Rayner Hoff energetically reorganized the curriculum and was an aggressive administrator, creating a lively School of Sculpture that attracted a group of notable students, being placed in charge of the entire Art Department in 1931. In the same year, he edited and produced The Art of Eileen McGrath, a book on his first successful diploma student, and concentrated on raising the profile of what was to become the ‘National Art School’ by astute publicity.
In 1924, Rayner Hoff joined the Society of Artists in Sydney, serving on its executive and providing a force for liberal ideals combined with stylistic moderation in art. His friendship with Norman Lindsay and Hardy Wilson influenced the ideas underlying his work and his sources of inspiration were broad. Greco-Roman, European Renaissance, Assyrian, Oriental and Art Deco features can be noted in a stylistically diverse and eclectic output.
The Society of Artists Medal was designed by Hoff in 1924, later producing the Sir Peter Nicol Russell Memorial Medal for the Institution of Engineers, Australia (1927), the Sir John Sulman Medal for the Institute of Architects of New South Wales (1932) and the contentious Victorian Centenary Medallion (1934). He showed sculpture regularly with the Society of Artists, the Victorian Artists’ Society and the Australian Sculptors’ Society. He entered various official and prize exhibitions, being awarded the Wynne Prize (1927). From 1937, he exhibited with and became a Foundation Council Member of, the short-lived Australian Academy of Art.
The most significant visible contribution that Rayner Hoff made was his large-scale sculpture for various buildings and public memorials. He produced the large reliefs of the War Memorial at Dubbo (1925), New South Wales, the figures for the National War Memorial (1927-1931) at Adelaide, and the more numerous and controversial sculptures for the Anzac Memorial (1930-1934) in Sydney (made with the aid of students and assistants). Rayner Hoff was also responsible for fine decorative reliefs for the now demolished Liberty Theatre (1934) and Hotel Australia (1934-35). After winning the competition, he had begun work on the King George V Memorial, Canberra, in 1936, which was completed posthumously by John Moorfield.
Rayner Hoff's final years took a tragic turn. In 1932, he was embroiled in controversy with the Catholic Archbishop Kelly, the Master Builders' Association of New South Wales and the local chapter of the Royal Australian Institute of Architects over the morality of the form and symbolism of the Anzac Memorial Group Sacrifice, Crucifixion of Civilisation and Victory. He was also attacked for his design for the Victorian Centenary Medal in 1934. His consumption of alcohol became excessive, his health deteriorated, as his marriage fell apart. After being dumped by a wave while surfing, Rayner Hoff died of pancreatitis on 19th November 1937 at Waverley and was cremated with Anglican rites. He was survived by his wife and two daughters. A memorial retrospective exhibition of his sculpture and drawings was held at the David Jones’ Art Gallery, Sydney, in 1938. Examples of his sculpture are held by the major Australian galleries.
A short, dark and physically powerful man, Hoff possessed a mature outlook and a strong commitment to his art. Rayner Hoff stands as the outstanding public sculptor in Sydney between the World Wars. Given the demands of his administrative and educational duties, his contribution to Australian art was considerable. While not an artistic innovator himself, Hoff did much to help to build an attitude of liberal tolerance for the younger artists of the time.
COLLECTIONS: Art Gallery of NSW; National Gallery of Victoria; Art Gallery of South Australia; Queensland Art Gallery; Museum of Victoria; National Portrait Gallery (Canberra);
BIBLIOGRAPHY:
The Naked Soldier: The Sculptures of Rayner Hoff in the Anzac Memorial, Sydney by John Stace; USA; 2018.
Rayner Hoff: The life of a sculptor by Deborah Beck; Sydney; 2017.
This Vital Flesh: the sculpture of Rayner Hoff and his school by Deborah Edwards; Sydney; 1999.
Reconstructing the Body: Classicism, Modernism, and the First World War by Ana Carden-Coyne; Oxford; 2009.
MEDIA SOURCES: Sydney Morning Herald (12th April 1923; 24th & 26th July 1923; 6th November 1923; 9th, 11th & 13th September 1924); Adelaide Advertiser (28th July 1924).
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Martin Tonyview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MARTIN, TONY
[ New South Wales, Victoria, Western Australia, Fiji, USA ] LIVING: 2019 at Brunkerville, New South Wales
Tony Martin is an Australian potter, art teacher and author. He was born in Sydney, New South Wales but spent his early years in Fiji, New South Wales, Western Australia, Victoria and United States. His family is quite creative, consisting of painters, printmakers, sculptors, graphic designers, architects, industrial designer and chefs.
Tony Martin began working as a potter in the early 1980s after completing much of his training in the United States, including a Master of Fine Arts at the University of Notre Dame (Indiana) and a Master of Art Teaching at Andrews University (Michigan). His career has been focused on various facets of ceramics – professional studio potter, tertiary lecturer, researcher in industrial techniques and development of ceramic materials, and academic studying the technical and anthropological of indigenous pottery communities in Asia (Laos, Japan, etc). His studio work has primarily focused on thrown high-fired stoneware and porcelain, often with copper red and dry glazes.
By 2013, Tony Martin worked from a studio at Brunkerville, NSW. Tony Martin is Head of School, Humanities and Creative Arts,
Avondale College of Advanced Education,
Cooranbong, New South Wales, Australia
where he also lectures in ceramics. He is currently researching traditional pottery communities in several countries in preparation for a book on the subject. His work may be marked with an incised ‘Tony Martin’ or ‘T Martin’.
In 2014, Tony Martin published
“Pippin Drysdale Is an Enigma: An Interview with Tony Martin" (Volume 95) and “Warren MacKenzie: A Life Well Lived Feb 16 1924–Dec 31 2018)” (Volume 112) in Ceramics Art & Perception.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Drysdale Pippin view full entry

Reference: see “Pippin Drysdale Is an Enigma: An Interview with Tony Martin" in Ceramics Art & Perception (Volume 95)
Publishing details: Ceramics Art & Perception, 2014

MacKenzie Warren view full entry

Reference: see “Warren MacKenzie: A Life Well Lived Feb 16 1924–Dec 31 2018)” in Ceramics Art & Perception (Volume 112)
Publishing details: Ceramics Art & Perception, 2018

Ceramics Art & Perceptionview full entry

Reference: Ceramics Art & Perception magazine [to be indexed]
Publishing details: Sydney, Australia : Ceramics: Art and Perception, Pty. Ltd., 1990-
v. : ill. Also available online
Ref: 1000

Murch Arthurview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MURCH, ARTHUR JAMES
[ New South Wales, South Australia, United Kingdom, Europe ]
BORN: 8th July 1902 at Croydon (Sydney), New South Wales
DIED: 23rd September 1989 at Terrey Hills (Sydney), New South Wales
Arthur Murch was a painter, sculptor (modeller, carver and caster), designer, art teacher and engineer. His English-born parents were James Murch [1869-1951], journeyman carpenter, and Caroline Elizabeth Holman [1876-1956], Arthur having two siblings (William F. [1900-????] and Ellen C. [1904-????] Murch). On 12th September 1940, he married Gloria (Ria) Mavis Counsell [1918-2014], a copywriter and often family breadwinner, the couple having at least two children. Murch’s life reflected many influences from his Methodist upbringing: teetotalism; devotion to family; frugality; a lack of interest in materialism; a love of learning; a strong work ethic; and the ability to build anything from nothing, even his own false teeth.
Arthur Murch attended Sydney Technical High School, Ultimo and at age 15 years apprenticed with John Heine & Son Ltd, Leichhardt, manufacturers of sheet-metal-working machinery. His drawing skills were noticed and studied part-time at the Royal Art Society of NSW (1920-1924) under Dattilo Rubbo and James R. Jackson, afterward building a studio in his parents’ backyard and devoting himself full-time to art. Between 1919 and 1923, he studied engineering at East Sydney Technical College, and in 1924 and 1925, he studied sculpture under Rayner Hoff. During Murch’s early career, he primarily focused on being a sculptor, but also exhibited oil and watercolour paintings.
In April 1925, Arthur Murch was awarded the New South Wales Society of Artists’ Travelling Scholarship (£250 per year for two years). On 26th May 1925, he departed for London aboard the SS Hobson Bay, initially spending two weeks in London and one month in Scotland before travelling to Paris where he studied painting and sculpture at Académie Julien, but early in 1926, he returned to London to study at Chelsea Polytechnic for a time. By November 1926, he was studying in Rome, where he disliked the Fascist Regime. However, he returned to Australia due to illness before his scholarship expired, arriving at Melbourne on 11th February 1927 aboard the SS Largs Bay from Italy. For the most part, Murch had been unimpressed by the art training in the United Kingdom and Europe, considering his training in Australia to be more professional and thorough. However, he thought that he had learned a great deal from visiting galleries, museums and public art during his trip.
On his return to Sydney, Arthur Murch returned to East Sydney Technical College’s Intermediate Art Course (1927-1928) and became George Lambert’s assistant. After Lambert’s death in 1930, Murch threw himself into Sydney’s Bohemian art world. It was from a cottage at the coastal town of Thirroul that the first paintings emerged in the decorative ‘Murch’ style, in which he fused classical and Renaissance subjects, themes and techniques with Australian people, light and landscape.
In 1933, Professor H. Whitridge Davies invited Murch to accompany a scientific expedition to Central Australia as a freelance artist. His six-week stay at Hermannsburg mission and a camel trek to Mount Liebig resulted in forty-five works exhibited at Macquarie Galleries, returning to Hermannsburg during the following year.
Murch returned to the United Kingdom in 1936, finishing his shimmering nude Leda (1935- 1939) by candlelight, because his poverty was such that his electricity had been cut off. He created decorations for the Australian Wool Pavilion at the 1938 Empire Exhibition in Glasgow, Scotland, with the help of (Sir) William Dobell, Donald Friend, Jean Appleton and other Australians. When he returned to Sydney, Murch married in 1940 and moved to Sydney’s northern beaches, where living was cheaper and Murch could paint his glorious ‘summery nudes’ and angophoras, often using his wife and children as models. During World War II, he was appointed an Official War Artist, but his appointment ended in May 1943 due to illness.
In 1949, Arthur Murch was awarded the prestigious Archibald Prize with his portrait Bonar Dunlop. Murch’s training in engineering and sculpture were particularly evident in his portraits, and his skin tones were unequalled in Australian art. His versatility was evident from his large equestrian sculptures, from murals such as the commissioned The Arts of Peace (1951), depicting a Molonga corroboree, and from drawings of his family. He taught art and inspired the children and adults whom he taught at Avalon, East Sydney Technical College and Hermannsburg. As his palette muddied, so did his fine mind.
COLLECTIONS: National Gallery of Australia; Art Gallery of NSW, National Gallery of Victoria; Art Gallery of South Australia; Queensland Art Gallery; numerous regional art galleries.
MEDIA SOURCES: Sydney Morning Herald (30th June 1920; 12th December 1923; 22nd April 1924; 27th May 1925); Daily Telegraph (3rd July 1924; 28th January 1926; 2nd February and 20th September 1928); Evening News (6th April 1925); Sunday Times (29th November 1925); Australasian (20th November 1926); Melbourne Herald (11th February 1927).
BIBLIOGRAPHY:
Arthur Murch: An Artist's Life Paperback by Ria Murch; Sydney; 1997.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Orton Lloyd Emerson Albertview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
ORTON, LLOYD EMERSON ALBERT
BORN: 21st November 1918 at Geelong, Victoria DIED: 20th April 1996 at Kooyong, Victoria
[ Victoria, United Kingdom, Europe, USA, Zimbabwe ]
Lloyd Orton was a sculptor (modeller, carver and caster), painter, printmaker and architect. His parents were Albert Robinson Orton [1884-1964], music teacher at Melbourne’s Scotch College (1920-1953), and Mabel Alice Litchfield [1880–1953], Lloyd having at least two siblings (Edwin Albert [1917-1917and Mervin Noel [1920-1983] Orton). In January 1955, Lloyd married Queenslander Helene Lois Bodkin [1920-2006].
Lloyd Orton received his initial artistic training at Camberwell Grammar and Scotch College, and at an early age considered becoming a sculptor. In 1936, he enrolled in architecture at the Swinburne Technical College and Melbourne Technical College (RMIT), graduating ten years later from the University of Melbourne. In 1939, he joined the Melbourne University Architectural Atelier, graduating after one year with first class honours. During World War II, he served with the Corps of Royal Australian Engineers in the Middle East, New Guinea and South West Pacific, being discharged with the rank of Captain. When he returned to Australia, he continued his architectural studies at RMIT (1947). After being awarded the Haddon Travelling Scholarship in June 1947, he departed Melbourne aboard the RMS Orion on 24th July 1947 for the United Kingdom, afterward visiting France, Holland, Italy, Sweden and Switzerland. On 20th January 1949, he boarded the SS America for New York, earning a Master of Architecture at Cornell University (1949-1951), Ithaca, New York, where he received his formal training as a sculptor under John Hartell [1902-1995]
In 1951, Lloyd Orton co-founded the Melbourne architectural firm of Armstrong & Orton, merging with Demaine, Russell & Trundle in 1957, co-directed the firm until 1984. During this period, he also served as President of the Royal Australian Institute of Architects, President of the Swinburne Technical College, and Mayor and long-serving Councilman of Hawthorn.
After his retirement, Lloyd Orton turned to sculpture and produced pieces in stone, wood and bronze which were exhibited in group displays around Victoria, receiving a number of prizes from the Association of Sculptors of Victoria and the Sheila Kirk Award for Sculpture. He undertook nearly ten visits to Zimbabwe, where he worked closely with the Shona sculptors. Here he displayed great humility and perseverance in working on his sculpture while sitting on a hard stump under a tree for many hours in extreme heat. The Lloyd Orton Collection of more than one- hundred artworks which Orton completed while a student at the Melbourne University Architectural Atelier where donated to Melbourne University.
COLLECTIONS: Melbourne University
BIBLIOGRAPHY: Artists and Galleries of Australia by Max Germaine; Sydney, 1990.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Parker Haroldview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
PARKER, HAROLD
BORN: 27th August 1873 at Aylesbury, Buckinghamshire, England DIED: 23rd April 1962 at Brisbane, Queensland
Harold Parker was a leading Australian sculptor (modeller, woodcarver and caster). His parents were Daniel Parker [circa 1851-1926], carpenter & contractor, and Jane Hollis [circa 1844-1938], Harold having at least two siblings (Thomas [circa 1873-????] and Harriett [circa 1876-????] Parker). The Parker family immigrated to Melbourne, arriving on 2nd April 1878 at Moreton Bay, Queensland aboard the Robert Lees. On 28th February 1911, Harold married Janet (Jane) Robinson [1879-1938], daughter of Sir Thomas Robinson, agent-general for Queensland.
Harold Parker attended (1881-1888) the West End Boys’ School before studying drawing and modelling (1889-circa 1893] at Brisbane Central Technical College under Joseph Augustine Clarke [1844-1890] and Richard Godfrey Rivers [1858-1925], and woodcarving under Cuthbert Vickers [????-1894]. Between 1889 and 1895, Parker won prizes for carving in Brisbane’s annual National Association Exhibitions. In 1892, Albert Ockelford charged that Harold’s prize-winning woodcarving was not his own work, but the officials found the claim unproved. Harold Parker worked in Sydney for a year, engaged on carvings for the New South Wales forestry exhibit at the 1893 World Columbian Exposition in Chicago. In 1904, he was elected an Associate of the Queensland Art Society.
In 1896, Harold Parker departed for London where he studied sculpture under William Silver Frith [1850-1924] at the City and Guilds of London Technical Art School where he won various awards, including the City Guild’s £100 scholarship. Until 1908, Parker worked as assistant to well-known English sculptors, (1911) Thomas Brock [1847-1922] and (1917) Hamo Thornycroft [1850-1925] and (1911) Welsh sculptor Sir William Goscombe John [1869-1952]. In 1904, Parker’s bronze statue Ariadne was exhibited at the Royal Academy.
Parker took a studio near Scottish sculptor John Tweed [1869-1933], who offered encouragement, and between 1903 and 1929, Parker exhibited his sculpture almost annually at the Royal Academy of Arts, London, and occasionally at the Old Salon, Paris. He was commissioned to portray Queensland expatriates and became a rival of Australian sculptor Bertram Mackennal [1863-1931]. In 1906, Parker was elected a member of the Royal Society of British Sculptors. The triumph of his career came in 1908 when his Ariadne was acquired for £1000 by the Chantrey Bequest for the Tate Gallery, an unequalled honour for a Queensland artist. In 1910, his Prometheus Bound obtained a ‘mention’ at the Salon.
Following his (1911) marriage in London, Parker made a jubilant visit back to Queensland, where he was honoured with a state reception, but received little patronage beyond the purchase in 1912, of The First Breath of Spring by the Queensland National Art Gallery. His major public commissions were executed in London where between 1915 and 1918 he worked on two colossal allegorical groups for the entrance of Australia House.
In 1921, Harold Parker visited Australia again and was elected to the Society of Artists, Sydney, and exhibited in Melbourne, where his half-sized replica of Ariadne was acquired by the Felton Bequest. While visiting Brisbane, he experimented with Queensland marble and carved The Pioneer, which was shown at the (1924) British Empire Exhibition, Wembley and awarded a medal at the (1928) Paris Salon.
In 1930, Harold Parker returned to settle in Australia afterward remaining aloof to modern developments in Britain and a less favourable response to his sculpture from the art establishment. Exhibitions of his sculpture and paintings were held in Sydney in 1930 and Melbourne in 1933. Overlooked for major sculptural commissions in his home State of Queensland, he turned increasingly to painting. In 1937, he became a foundation member of the Australian Academy of Art.
During his later life in Brisbane, Harold Parker withdrew from public life and was virtually forgotten. Of modest and retiring disposition, he lacked the personality needed to secure commissions in a frontier State.
COLLECTIONS: National Gallery of Australia; National Gallery of Victoria; Queensland Art Gallery; University Art Museum, Brisbane; Some major sculpture was destroyed in storage in London.
BIBLIOGRAPHY:
MEDIA SOURCES: Brisbane Courier (7th April 1892; 10th August 1894; 15th August 1895; 21st April 1902; 14th August 1903; 29th April, 2nd July & 22nd October 1904).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Pillig Gustavview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
PILLIG, GUSTAV MICHAEL
[ Victoria, New South Wales, Queensland, Western Australia, Europe ]
BORN: 1877 at Gelsenkirchen, Imperial Germany
DIED: 17th July 1956 at Fitzroy, North Melbourne, Victoria
Gustav Pillig was a sculptor (modeller, carver and caster), ceramist, painter and printmaker. His parents were Severin Pillig [circa 1850-????], a builder and contractor, and Margaretha Baumann [circa 1850-????], Gustave having at least one sibling (Johannes Pillig [1884-1970]. On 7th December 1913, Gustav and his studio model Elisabeth arrived at Melbourne from Antwerp aboard the SS Konigin Luise, having abandoned his wife and two children. With Irma Johanna Fleischhacker [1891-1980], Gustave had two children (Elfriede Irma [1914-????] and Gustave Walt [1915-????] Fleischhacker), Irma marrying William Jansen [1892-1962] in 1918 in Sydney.
Gustav Pillig received his artistic training at the Technical School (Stockholm 1900), Royal Academy (Berlin 1900-1903) and Royal Academy (Dusseldorf 1904-1907). He became an established sculptor in Germany, producing fine tabletop figural bronzes (e.g. Liebespaar; Ringendes Kinderpaar (1905); Stehender Frauenakt (1906); Stehender Weiblicher Akt (1913)) and receiving commissions for several monumental public sculptures.
Gustave Pillig initially settled in Melbourne, but between 1919 and 1923, he worked as a sculptor in Sydney, having an enormous studio at 366 Pitt Street with Norman Lindsay’s sons Jack [1900-1990] and Phil [1906-1958] Lindsay as his assistants. Pillig exhibited sculpture, paintings and etchings in Melbourne, Sydney (Society of Artists) and Brisbane. He was commissioned to produce relief decorations for the Regent and Plaza Theatres in Melbourne and produced art deco earthenware figures. In 1932, he exhibited a monumental work Symphony of Life, which was a 20 feet long terracotta with bronze patina of 300 figures on a bridge; paired with 18-foot painting. In late 1932, he auctioned his extensive art collection in preparation to return to Europe, but the situation in Germany steadily deteriorated and he remained in Australia.
PRINTMAKING (1930s)
Gustave Pillig produced a moderate number (over 25; from catalogue entries probably over 50) of intaglio prints using the etching technique. His etching End of Civilisation was highly acclaimed when it was exhibited in 1931.
BIBLIOGRAPHY:
Australian Art Pottery 1900-1950 by Kevin Fahy, John Freeland, Keith Free, & Andrew Simpson; Sydney; 2004.
MEDIA SOURCES: Brisbane Courier (12th May 1921); Sydney Morning Herald (9th September 1921); Age (3rd December 1931; 13th September, 8th November & 17th December 1932); Argus (27th April 1932); Perth’s New Call (19th May 1932); Australasian (1st October 1932); Herald (7th November 1932).

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Rose David Georgeview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
ROSE, DAVID GEORGE
[ New South Wales, Victoria, ACT, Europe ]
BORN: 9th November 1936 at Cobourg (Melbourne), Victoria LIVING: 10th December 2006 at Gosford (Sydney), New South Wales
David George Rose was an Australian printmaker, painter, potter and art teacher. His parents were George Linney Rose [1911-1976], a commercial artist, and Aubrey Trevelyan [1912-1991], David having two siblings (Peter Neville [935-1998] and ??? [????-????] Rose). In 1960, he married Jennifer Mannigel [????-1982], the couple having two children (Kristen [1971-] and Campion [1973-] Rose). In 1983, he married Hannelore Berry [????-], the mother of two children (Susan and Ron).
David Rose was educated at Melbourne Grammar School where he displayed artistic abilities at an early age, entering and winning various juvenile painting competitions. Afterward he earned a Forestry degree from the National Forestry School in Canberra. In 1960, he moved to Sydney where he established himself as a primarily self-taught professional artist. Early on David and his wife produced handprinted greeting cards under their own label, Dajer. With joyful, striking designs and a clean, modern aesthetic, these cards were screenprinted, cut and folded by hand, then delivered to retailers on the couple’s Italian motor scooter.
In 1964, David Rose and his wife Jennifer traveled by ocean liner to Spain, where Rose produced a series of lithographs at the commercial lithography studio of Señor Sales in Barcelona, later touring Europe. After returning to Sydney in 1965, Rose taught printmaking part-time at the National Art School, East Sydney and later taught at the City Art Institute. In 1976, the Rose family moved to an old farmhouse, ‘Hillside’, at Ourimbah, NSW, a derelict fruit packing shed on the property being converted into a studio for etching, painting and ceramics, and one section later being converted into a studio gallery. Rose’s exceptional technical skills as a printmaker enabled him to express a fine intuitive understanding of the Australian natural environment, and his work received much international acclaim, having nearly fifty solo exhibitions.
In 1978, David Rose was commissioned to produce a range of designs for Australian postage stamps. These were the first ‘special issue’ stamps produced by Australia Post, and featured a series of four Australian trees: the Illawarra Flame, Ghost Gum, Grass Tree and Cootamundra Wattle. During the same year, Rose was featured in an educational filmstrip series "Australian Artists", produced by the Australian Broadcasting Commission and narrated by Margaret Throsby. The 1980s, he took up the production of ceramics, encouraged by potter friends John Kemety and Peter Rushforth.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Shearer Peterview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
SHEARER, PETER
BORN: circa 1970 at New Zealand LIVING: 2019 at Auckland, New Zealand
[ New Zealand ]
Peter Shearer is a New Zealand potter and art teacher, currently working from his Birkenhead studio in Auckland with his wife Jeanette, who is also a well-known potter. Peter’s chopmark is an ‘S’ within a square.
For more than 30 years, Peter Shearer has been working with stoneware clay, aiming to achieve a balance between form and function in whatever he makes. His forms and glazes are strongly influenced by New Zealand’s unique environment. One of the characteristics of Peter’s work is the contrast achieved by using glazed surfaces adjacent to textured non-glazed surfaces. He applies crackled slips, combing and fluting to the leather hard clay and after each piece is bisque-fired, he rubs iron oxide into the surface to highlight the texture. Porcelain clay is used for the celadon pieces and all others are all made from stoneware clay.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Shillam Leonard Georgeview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
SHILLAM, LEONARD GEORGE (AM)
[ Queensland, New South Wales, Australian Capital Territory, United Kingdom, USA ]
BORN: 15th August 1915 at Brisbane, Queensland DIED: 1st September 2005 at Brisbane, Queensland
Leonard Shillam was a sculptor (modeller, carver and caster), sculpture teacher, painter (primarily in watercolours), graphic artist, art lecturer, art critic and poultry farmer. He was primarily known as a modeller in clay and caster in bronze and brass, and a carver of exotic woods and stone, his figure and animal studies in tabletop and monumental sizes being his best- known pieces. His parents were William John Shillam [1882-1951] and Mabel Griffith [1882- 1949], Leonard having two siblings (Gwyneth [1911-1994] and Harold William [1917-1970] Shillam). On 1st September 1942, Leonard Shillam married English-born Kathleen O’Neill [1916-2002], who was also a sculptor and artist, having met while studying at Brisbane Technical College.
Leonard Shillam attended Brisbane Grammar School (1928-1930) before receiving his artistic training at Brisbane’s Central Technical College (1931-1936) under F.J. Martyn Roberts [1871-1963]. In 1934, Leonard was awarded the Godfrey Rivers Medal which was awarded to the highest achieving art student. Later in his career, Shillam taught art, becoming Head of the Sculpture Department at Brisbane’s College of Art and in 1975, was the first instructor in sculpture at the Queensland College of Art
Between 1934 and 1936, Leonard Shillam was employed as a designer in a silkscreen poster studio while still studying at the Technical College. On 29th April 1938, he was awarded the £400 ($2,000) Carnegie Institute Travelling Grant, which enabled him to continue his studies in England, arriving in September 1938. In London, he studied life modelling at the Westminster School, Central School of Arts and Crafts and under British modernist sculptors John Skeaping [1901-1980] and Henry Moore [1898-1986]. At the outbreak of World War II, Shillam decided to return to Australia, arriving on 26th November 1939 aboard the SS Themistocles.
In 1935, along with Francis Lymburner and Will Smith, they formed the nucleus of a small studio group to draw at the Victory Chambers, Adelaide Street, Brisbane. In 1937, Leonard developed an interest in sculpture and began to sculpt with a set of tools borrowed from sculptress Daphne Mayo, and a slab of stone given by a sympathetic stone mason. In October 1947, Leonard and Kathleen Shillam had a joint exhibition of modern sculpture at Albert House and in July 1949 at Moreton Gallery in Brisbane. In November 1949, Leonard’s sculpture was shown alongside Tom Bass, Lyndon Dadswell, Margel Hinder, Gerald Lewer and Daphne Mayo in Sydney’s David Jones’ Art Gallery. In December 1950, a number of his wood carvings were exhibited at the Rockefeller Center in New York City with other contemporary Australian sculptors and the following year at the Botanical Gardens in Sydney.
In early 1940s and 1950s, Leonard and Kathleen Shillam were members of the Half- Dozen Group and Brisbane Group of Artists. In 1968, they founded the Society of Sculptures Queensland, and also the Queensland Society of Sculptors and the Queensland Wildlife Artists Society. In 1980, Leonard and Kathleen Shillam set up a bronze casting foundry in their studio and until 1987 cast all their own smaller scaled works. On 21st March 1987, they were involved in a serious car accident that curtailed but did not end their careers as sculptors.
In mid-1950s, Leonard and Kathleen Shillam commenced exhibiting with the Society of Sculptors and in 1976, were awarded life membership of the Society of Sculptors, Queensland. In January 1986, they were appointed Members of the Order of Australia (AM). In December 2000, they were awarded Honorary Doctor of Philosophy for services to the arts, notably sculpture, from the University of Queensland.
COLLECTIONS: Queensland Art Gallery; Art Gallery of NSW; Darnell Art Collection at University of Queensland.
BIBLIOGRAPHY:
Leonard and Kathleen Shillam: A Tribute by Glen R. Cooke; Queensland Art Gallery; Brisbane’ 1995 Shillam Sculpture by Leonard and Kathleen Shillam; Brisbane; 2000
Formative Years: Four Art Students in 1930s Brisbane (William Smith, Leonard Shillam, Kathleen Shillam, Francis Lymburner) by Kathleen Shillam; Brisbane; 1997
Forms entwined: The life story of sculptors Leonard & Kathleen Shillam by Dorothy Hartnett; Brisbane; 1996
MEDIA SOURCES: Courier Mail (14th December 1934; 23rd November 1935; 23rd November 1936; 13th March 1939; 3rd April 1940; 16th February 1942; 11th July 1949); Daily Standard (14th January 1935); Brisbane Telegraph (21st November 1936; 29th April 1938; 10th March 1939; 26th September 1940; 31st October 1947; 11th July 1949; 30th January 1950; 10th November 1951); Sunday Mail (10th July 1949); Sydney Sun (1st November 1949); Sydney Morning Herald (7th December 1950); Sydney’s Daily Telegraph (4th November 1951); Canberra Times (6th October 1966; 25th January 1986); Papua New Guinea Post-Courier (3rd October 1969)

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Vanderlugt (A.K.A. Van Der Lugt), Adriaanview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
VANDERLUGT (A.K.A. VAN DER LUGT), ADRIAAN
[ Queensland, New South Wales, Canada, USA, Zimbabwe ]
BORN: 1943 at Netherlands
LIVING: 2019 Whitsundays, Queensland
Adriaan Vanderlugt is sculptor (carver, modeller and caster), graphic artist, art consultant and art writer. He was born in the Netherland, but his family immigrated to Canada where he developed an interest in Native American artefacts and after attending art school, worked for Graphic Design Studio in Hamilton, Ontario. In 1967, he visited Australia, where he met his wife Denise, an artist and quiltmaker, in Townsville. They returned to Canada, but in 1977/1979, emigrated to Australia, settling in the Whitsundays, where he cleared the land and built his family home.
For more than four decades, Adriaan Vanderlugt has been carving bone, stone, wood, marble and metal, especially somewhat stylized animals, birds and fish. In 1970, he held his first sculpture exhibition in Hamilton and won awards from the Ontario Craft Foundation. In 1997, he was commissioned to create the furniture for the new chapel on Hayman Island, Queensland. He exhibited at (1986) Australian Fortnight in Dallas, Texas and was a guest artist at the Trans-Tasman Wood Exhibition in Sydney in 1991.
For the Centenary of Federation Celebrations in 2001, Vanderlugt created a number of public sculptures for the Mackay Whitsunday Region. His sculptures have been included in six ‘Strand Ephemera’ and two ‘Fringe Ephemera’ Exhibitions in Townsville. He also exhibited two sculptures at the ‘12th Thursday Plantation East Coast Sculpture Show’ in Ballina in 2007. His first entry in the SWELL Sculpture Festival was in 2009 and his sculpture Five White Shorebirds was acquired by the Gold Coast City Council and installed at Rainbow Bay in Coolangatta. He has had entries each year in subsequent SWELL Sculpture Festivals to 2014.
Adriaan Vanderlugt has created public sculptures for communities in western Queensland, with the Five ‘Woolbale’ Sheep for the town of Quilpie and a 3.5-meter Bottle Tree located at the Living Arts Centre in Blackall. In 2013, he installed a group of five wood wildlife sculptures outside of the Mackay Entertainment Centre and another one in 2015 and one more in 2017. As an Art Consultant, he assisted in revitalising the Streetscape of Proserpine in the 80’s and 90’s and was involved in creating the Green Room at the Proserpine Hospital. For a number of years Adriaan wrote a weekly Art Column in the Whitsunday Coast Guardian for which in 2005, he received a Mackay Regional ‘Arts-is-in Award’ for recognition of his media coverage of the arts. In 2003, he was honoured with an Australia Centenary Medal ‘for distinguished service to the arts’. In December of 2013, Adriaan Vanderlugt was filmed for an Episode for the TV Show Colour In Your Life’.
COLLECTIONS: Gold Coast City Council.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Van Der Lugt Adriaan (aka Vanderlugt )view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
VANDERLUGT (A.K.A. VAN DER LUGT), ADRIAAN
[ Queensland, New South Wales, Canada, USA, Zimbabwe ]
BORN: 1943 at Netherlands
LIVING: 2019 Whitsundays, Queensland
Adriaan Vanderlugt is sculptor (carver, modeller and caster), graphic artist, art consultant and art writer. He was born in the Netherland, but his family immigrated to Canada where he developed an interest in Native American artefacts and after attending art school, worked for Graphic Design Studio in Hamilton, Ontario. In 1967, he visited Australia, where he met his wife Denise, an artist and quiltmaker, in Townsville. They returned to Canada, but in 1977/1979, emigrated to Australia, settling in the Whitsundays, where he cleared the land and built his family home.
For more than four decades, Adriaan Vanderlugt has been carving bone, stone, wood, marble and metal, especially somewhat stylized animals, birds and fish. In 1970, he held his first sculpture exhibition in Hamilton and won awards from the Ontario Craft Foundation. In 1997, he was commissioned to create the furniture for the new chapel on Hayman Island, Queensland. He exhibited at (1986) Australian Fortnight in Dallas, Texas and was a guest artist at the Trans-Tasman Wood Exhibition in Sydney in 1991.
For the Centenary of Federation Celebrations in 2001, Vanderlugt created a number of public sculptures for the Mackay Whitsunday Region. His sculptures have been included in six ‘Strand Ephemera’ and two ‘Fringe Ephemera’ Exhibitions in Townsville. He also exhibited two sculptures at the ‘12th Thursday Plantation East Coast Sculpture Show’ in Ballina in 2007. His first entry in the SWELL Sculpture Festival was in 2009 and his sculpture Five White Shorebirds was acquired by the Gold Coast City Council and installed at Rainbow Bay in Coolangatta. He has had entries each year in subsequent SWELL Sculpture Festivals to 2014.
Adriaan Vanderlugt has created public sculptures for communities in western Queensland, with the Five ‘Woolbale’ Sheep for the town of Quilpie and a 3.5-meter Bottle Tree located at the Living Arts Centre in Blackall. In 2013, he installed a group of five wood wildlife sculptures outside of the Mackay Entertainment Centre and another one in 2015 and one more in 2017. As an Art Consultant, he assisted in revitalising the Streetscape of Proserpine in the 80’s and 90’s and was involved in creating the Green Room at the Proserpine Hospital. For a number of years Adriaan wrote a weekly Art Column in the Whitsunday Coast Guardian for which in 2005, he received a Mackay Regional ‘Arts-is-in Award’ for recognition of his media coverage of the arts. In 2003, he was honoured with an Australia Centenary Medal ‘for distinguished service to the arts’. In December of 2013, Adriaan Vanderlugt was filmed for an Episode for the TV Show Colour In Your Life’.
COLLECTIONS: Gold Coast City Council.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Williams Ross Mview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
WILLIAMS, ROSS M.
BORN: 25th May 1936 at Gisborne, New Zealand
[ New Zealand, Australia, United Kingdom ]
In 1968, Ross M. Williams took up sculpting and studied available literature on sculptors, sculptures and anatomy of humans and animals, later studying sculpture in Adelaide, South Australia and London, United Kingdom before establishing a studio in Sydney, New South Wales. He worked with clay, terracotta, plaster, stone, alabaster, wood, fiberglass and cement, but preferred modelling in clay and terracotta, and carving stone and wood. In 1980, he started to cast his work in bronze, afterward concentrating on producing limited editions of his clay models.
Ross Williams was strongly influenced by French sculptor François Auguste René Rodin [1840-1917] because of his ability to capture movement and vitality, and the expression of emotions the human form. He tried to emulate Rodin’s distinctive methods of achieving surface texture, even on his tabletop pieces. Ross William’s favourite subjects were figural studies of athletes, dancers and animals.
Sculptor’s Statement
The Bronze of Discus Thrower is the second of a limited addition of nine. Each is individually cast so no two are identical.
In my view, Bronze is the truly classical medium of all sculpture. Its warmth, depth, and texture give it qualities which cannot be surpassed or duplicated in any other medium.
My pieces are produced by the ‘lost wax’ process. After I sculpt the original in a special wax, it is dipped in ceramic slurry which hardens to form a ceramic shell mould. The ceramic shell mould will withstand temperatures in excess of 10000 Centigrade yet is very fragile. The wax is then melted from the mould and the cavity filled with molten Bronze. When the Bronze has cooled and hardened the mould is broken to reveal the original form. Then follows some intricate work cutting away ‘runners’ and ‘chasing’ with files and a variety of instruments and finally, the patina or colouring is applied, and the piece is complete.

[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Modern Ceramic Productsview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MODERN CERAMIC PRODUCTS (MCP)
OPERATED: 1943 – 1966 at Sydney, New South Wales
John Douglas Impey [1917-1997], an Industrial Chemical Engineer and his brother-in- law, Stan Kirkwood, started Modern Ceramic Products (MCP) in 1943. Prior to this time, John Impey worked for the AGM glassworks at Waterloo and Stan Kirkwood [1917-1983] was an electrical engineer working for Birlec (Birmingham Electrical Furnaces Ltd.) where he designed and made furnaces and industrial heating elements.
One of Kirkwood’s clients Dora Minchin had established a small pottery business and in early 1944, she required more kiln capacity to cope with her growing output of hand-built and slipcase pottery. Kirkwood and Impey installed a small kiln under the veranda at Longueville and Minchin’s prodigious output strained the kiln’s capacity. Despite severe wartime restrictions, Kirkwood made a two cubic foot capacity kiln. Towards the end of 1944, Impey and Kirkwood decided to make some pottery items themselves in their spare time. They were convinced that there was a future in artware pottery and were joined in 1945 by Ron Cooper and John Lambeth (both chemical engineers at the AGM Waterloo plant).
The first break came for the fledgling business, by then using the unregistered and unincorporated name of Modern Ceramic Products (MCP), in November 1945 when they received an order from retailer Prouds for 300 pounds, a considerable sum in those days. John Impey decided the business warranted more commitment and so he decided to leave the Glassworks. Much needed capital was provided by John Impey’s father in law, Reg O’Donnell who had recently sold a property in Gundagai called ‘Mingay’. He suggested that MCP use the name of Mingay for their range of pottery, John Impey agreed, and the name was used over the life of the artware pottery business.
With the end of the war, there was quite an upsurge in the demand for the modern colourful style of artware pottery, MCP was producing. The expanding business moved to Clarence Street Sydney. In 1946, MCP moved to 107 Redfern Street, Redfern at which time they were awarded the rights to produce ceramic versions of the animated Disney characters including Bambi. In 1958, they moved to 44 Norman Street Peakhurst.
At their peak, MCP employed thirty-nine people but in 1952 the Australian Government increased sales tax from 33.3% to a 66.6% on their products in 1952 MCP reduced their staff from 30 to 7. In 1955, Australian commercial potteries sought products for manufacture that did not attract a sales tax. Ceramic bathroom fittings fitted the bill and MCP immediately went into production in this area. In 1957, Porter and Galbraith bought MCP and the two merged with Hanson Consolidated Industries forming PGH.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

MCP - Modern Ceramic Productsview full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MODERN CERAMIC PRODUCTS (MCP)
OPERATED: 1943 – 1966 at Sydney, New South Wales
John Douglas Impey [1917-1997], an Industrial Chemical Engineer and his brother-in- law, Stan Kirkwood, started Modern Ceramic Products (MCP) in 1943. Prior to this time, John Impey worked for the AGM glassworks at Waterloo and Stan Kirkwood [1917-1983] was an electrical engineer working for Birlec (Birmingham Electrical Furnaces Ltd.) where he designed and made furnaces and industrial heating elements.
One of Kirkwood’s clients Dora Minchin had established a small pottery business and in early 1944, she required more kiln capacity to cope with her growing output of hand-built and slipcase pottery. Kirkwood and Impey installed a small kiln under the veranda at Longueville and Minchin’s prodigious output strained the kiln’s capacity. Despite severe wartime restrictions, Kirkwood made a two cubic foot capacity kiln. Towards the end of 1944, Impey and Kirkwood decided to make some pottery items themselves in their spare time. They were convinced that there was a future in artware pottery and were joined in 1945 by Ron Cooper and John Lambeth (both chemical engineers at the AGM Waterloo plant).
The first break came for the fledgling business, by then using the unregistered and unincorporated name of Modern Ceramic Products (MCP), in November 1945 when they received an order from retailer Prouds for 300 pounds, a considerable sum in those days. John Impey decided the business warranted more commitment and so he decided to leave the Glassworks. Much needed capital was provided by John Impey’s father in law, Reg O’Donnell who had recently sold a property in Gundagai called ‘Mingay’. He suggested that MCP use the name of Mingay for their range of pottery, John Impey agreed, and the name was used over the life of the artware pottery business.
With the end of the war, there was quite an upsurge in the demand for the modern colourful style of artware pottery, MCP was producing. The expanding business moved to Clarence Street Sydney. In 1946, MCP moved to 107 Redfern Street, Redfern at which time they were awarded the rights to produce ceramic versions of the animated Disney characters including Bambi. In 1958, they moved to 44 Norman Street Peakhurst.
At their peak, MCP employed thirty-nine people but in 1952 the Australian Government increased sales tax from 33.3% to a 66.6% on their products in 1952 MCP reduced their staff from 30 to 7. In 1955, Australian commercial potteries sought products for manufacture that did not attract a sales tax. Ceramic bathroom fittings fitted the bill and MCP immediately went into production in this area. In 1957, Porter and Galbraith bought MCP and the two merged with Hanson Consolidated Industries forming PGH.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Impey John Douglas 1917-1997view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MODERN CERAMIC PRODUCTS (MCP)
OPERATED: 1943 – 1966 at Sydney, New South Wales
John Douglas Impey [1917-1997], an Industrial Chemical Engineer and his brother-in- law, Stan Kirkwood, started Modern Ceramic Products (MCP) in 1943. Prior to this time, John Impey worked for the AGM glassworks at Waterloo and Stan Kirkwood [1917-1983] was an electrical engineer working for Birlec (Birmingham Electrical Furnaces Ltd.) where he designed and made furnaces and industrial heating elements.
One of Kirkwood’s clients Dora Minchin had established a small pottery business and in early 1944, she required more kiln capacity to cope with her growing output of hand-built and slipcase pottery. Kirkwood and Impey installed a small kiln under the veranda at Longueville and Minchin’s prodigious output strained the kiln’s capacity. Despite severe wartime restrictions, Kirkwood made a two cubic foot capacity kiln. Towards the end of 1944, Impey and Kirkwood decided to make some pottery items themselves in their spare time. They were convinced that there was a future in artware pottery and were joined in 1945 by Ron Cooper and John Lambeth (both chemical engineers at the AGM Waterloo plant).
The first break came for the fledgling business, by then using the unregistered and unincorporated name of Modern Ceramic Products (MCP), in November 1945 when they received an order from retailer Prouds for 300 pounds, a considerable sum in those days. John Impey decided the business warranted more commitment and so he decided to leave the Glassworks. Much needed capital was provided by John Impey’s father in law, Reg O’Donnell who had recently sold a property in Gundagai called ‘Mingay’. He suggested that MCP use the name of Mingay for their range of pottery, John Impey agreed, and the name was used over the life of the artware pottery business.
With the end of the war, there was quite an upsurge in the demand for the modern colourful style of artware pottery, MCP was producing. The expanding business moved to Clarence Street Sydney. In 1946, MCP moved to 107 Redfern Street, Redfern at which time they were awarded the rights to produce ceramic versions of the animated Disney characters including Bambi. In 1958, they moved to 44 Norman Street Peakhurst.
At their peak, MCP employed thirty-nine people but in 1952 the Australian Government increased sales tax from 33.3% to a 66.6% on their products in 1952 MCP reduced their staff from 30 to 7. In 1955, Australian commercial potteries sought products for manufacture that did not attract a sales tax. Ceramic bathroom fittings fitted the bill and MCP immediately went into production in this area. In 1957, Porter and Galbraith bought MCP and the two merged with Hanson Consolidated Industries forming PGH.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Kirkwood Stan view full entry

Reference: see Australian Sculptors and Artworks in Three Dimensions, “( One Man’s Collection – A Personal Journey )” by David James Angeloro. (Excerpt of a draft July, 2020. An eBook by David Angeloro.
MODERN CERAMIC PRODUCTS (MCP)
OPERATED: 1943 – 1966 at Sydney, New South Wales
John Douglas Impey [1917-1997], an Industrial Chemical Engineer and his brother-in- law, Stan Kirkwood, started Modern Ceramic Products (MCP) in 1943. Prior to this time, John Impey worked for the AGM glassworks at Waterloo and Stan Kirkwood [1917-1983] was an electrical engineer working for Birlec (Birmingham Electrical Furnaces Ltd.) where he designed and made furnaces and industrial heating elements.
One of Kirkwood’s clients Dora Minchin had established a small pottery business and in early 1944, she required more kiln capacity to cope with her growing output of hand-built and slipcase pottery. Kirkwood and Impey installed a small kiln under the veranda at Longueville and Minchin’s prodigious output strained the kiln’s capacity. Despite severe wartime restrictions, Kirkwood made a two cubic foot capacity kiln. Towards the end of 1944, Impey and Kirkwood decided to make some pottery items themselves in their spare time. They were convinced that there was a future in artware pottery and were joined in 1945 by Ron Cooper and John Lambeth (both chemical engineers at the AGM Waterloo plant).
The first break came for the fledgling business, by then using the unregistered and unincorporated name of Modern Ceramic Products (MCP), in November 1945 when they received an order from retailer Prouds for 300 pounds, a considerable sum in those days. John Impey decided the business warranted more commitment and so he decided to leave the Glassworks. Much needed capital was provided by John Impey’s father in law, Reg O’Donnell who had recently sold a property in Gundagai called ‘Mingay’. He suggested that MCP use the name of Mingay for their range of pottery, John Impey agreed, and the name was used over the life of the artware pottery business.
With the end of the war, there was quite an upsurge in the demand for the modern colourful style of artware pottery, MCP was producing. The expanding business moved to Clarence Street Sydney. In 1946, MCP moved to 107 Redfern Street, Redfern at which time they were awarded the rights to produce ceramic versions of the animated Disney characters including Bambi. In 1958, they moved to 44 Norman Street Peakhurst.
At their peak, MCP employed thirty-nine people but in 1952 the Australian Government increased sales tax from 33.3% to a 66.6% on their products in 1952 MCP reduced their staff from 30 to 7. In 1955, Australian commercial potteries sought products for manufacture that did not attract a sales tax. Ceramic bathroom fittings fitted the bill and MCP immediately went into production in this area. In 1957, Porter and Galbraith bought MCP and the two merged with Hanson Consolidated Industries forming PGH.
[Works from the David Angeloro Sculpture Collection were sold at Davidson Auctions, Fine Art, featuring the David Angeloro Collection of Australian Sculpture, Sunday August 16th, 2020]. [Information on artists included in this publication has been included in the Scheding Index]
Publishing details: Published online August 2020.

Auckland Society of Artsview full entry

Reference: The Auckland Society of Arts 1870-1970
A Centennial History. By R Tizard
Publishing details: 52p, illustrated. 250mm, soft grey covers.
Ref: 1000

Cubitt Frederickview full entry

Reference: see Sydney Sportsman (Surry Hills, NSW : 1900 - 1954), Wed 29 Jun 1910, Page 3, MUMMER MEMOIRS:
In the mid-sixties, in Sydney, Mr.
Frederick Cubitt followed the art of
wood-engraving, having 'his workshop In
Bridge Street. Wood-engraving may now
be considered one of the lost arts: .

Dawe H Eview full entry

Reference: see George the Third – [133 lives lost] by H. E. Dawe
The power of maternal affection, when the George the Forth [i.e. for Third] convict ship was wrecked in April, 1835 near Van Dieman's Land, 1837
tinted engraving
16 x 22 in
Published: London, Thomas McLean, 1837
Mitchell Library, State Library of New South Wales
V* / Ship / Geo 3 / 1
Ship identified in 'More Tasmanian old prints' by Clifford Craig, 1984n [Previously catalogued as George the Fourth]

Adlam Albert Victorview full entry

Reference: See Elders Fine Art auction, Important Australian & International Paintings
Including the estate collections of Brian Dunlop & Brian Seidel. Sunday 23rd August, 2020:
Lot 129
ALBERT VICTOR ADLAM (Working 1930’s)

 “Adelaide City Bridge, Torrens River towards the Cathedral c.1930” Watercolour 54 x 75cm Signed Lower Right, Dated 1930 Artist represented in the National Museum of Australia.  Frame Measurement: 88 x 109cm  Condition Report: Lovely condition, no foxing, some slight discolouration to sky area, lovely wooden frame in very good condition.
Estimate: $2,500 - 3,500

Scott Margaret Cochrane (1825-1919)view full entry

Reference: See Elders Fine Art auction, Important Australian & International Paintings
Including the estate collections of Brian Dunlop & Brian Seidel. Sunday 23rd August, 2020:
Lot 149
MARGARET COCHRANE SCOTT (1825-1919)

 “Wildflowers and Rock Pools, Horsnell Gully, Adelaide Hills, SA” (Painted from Nature) Oil on Artist’s Board 37x54cm Signed Lower Left  Frame Measurement: 49 x 65  Condition Report: Excellent Condition, no faults or concerns, traditional gilt style frame in good condition.
 Prov: The Estate of Horsnell. Private Collection, Adelaide  Born in Liverpool, Margaret arrived with her family in Adelaide in 1861. A skilled painter of flowers from nature, in the 1870s she recorded a local wildflower sketchbook. Margaret found a special affinity with the orchid species that thrived in the Adelaide Hills and exhibited her work in many exhibitions of the time. In 1895 Viscountess Kintore, wife of the Governor of South Australia greatly admired her unique paintings and purchased a significant collection of her works to take back to England for herself and her friends and the Glasgow Art Gallery in Scotland and the then Duchess of York who was crowned Queen Mary. In 1899 a number of her drawings and watercolours were published in a book presented to the Vice-Regal’s wife, Lady Buxton. In the 1870s she compiled a comprehensive study of wildflowers from the Adelaide Hills and Horsnell Gully. These volumes of studies were bequeathed to the Adelaide Botanical Gardens on the death of her daughter Winnifred in 1950. She died in 1919 and is regarded highly for her work.
Estimate: 1,500-2,500

Hunter Johnview full entry

Reference: HUNTER, Captain John. AN HISTORICAL JOURNAL OF EVENTS AT SYDNEY AND AT SEA, 1787-1792. With further accounts by Governor Arthur Phillip; Lieut. P.G.King & Lieut. H.L.Ball.’One of the first accounts of the fledgling colony of NSW.’
Publishing details: Reprint ed. Edited & with notes by John Bach. Syd. A & R. 1968. Or.cl. Dustjacket. 452pp. b/w plates & folding maps. Dj.
Ref: 1009

Lesueur Charles Alexanderview full entry

Reference: see PERON, Francois and FREYCINET, Louis de. VOYAGE OF DISCOVERY TO THE SOUTHERN LANDS, an historical record. Atlas by Mm. Lesueur and Petit, second edition. Small folio Atlas, coloured and black & white plates, half leather (mottled).
Publishing details: Adelaide, Friends of the State Library of South Australia, 2008. Facsimile edition of the 1824 original. The deluxe issue of 150 numbered copies within the edition of 400. + Volume I (of two) of the accompanying octavo text

Laird Campbell view full entry

Reference: see John Moran Auctioneer, LA Art Association Annual Benefit Auction
Wed, Aug 19, 2020, Monrovia, CA, USA
Campbell Laird (20th/21st Century, Australian), lot 10, "Soul Burst," 2016
Propane, plastique and paint
Signed and dated verso
19" H x 27" W

Notes: Campbell Laird has been recognized by museum curators from SFMOMA, MOCA and LACMA for his meditative abstractions. His works appear in private collections across the globe, from NYC to modernist homes in the Hollywood Hills, London, Sydney, Madrid and Tokyo. For over 30 years, Laird has created artworks for major corporations, including Saatchi, Estee Lauder, American Express and 20th Century Fox, and the Beverly Hilton. Campbell currently shows his work regularly at Gallery 825, bG Gallery & LACDA in Los Angeles, CA.

National Art Gallery of New South Walesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Aldis A Eview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Andrew Frank Cview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Appleton Jeanview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ashton Howardview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ashton Julian Rossiview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ashton Richardview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ashton Will (John William)view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Auld James Muir 1887-1942view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Badham Herbertview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Baker Normand Hview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Bale Alice Marian Ellisview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Balfour Lawsonview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Banks Johnview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Barron Howardview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Bell Georgeview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Bellette Jeanview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Board Leslieview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Boyd Arthurview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Boyd Penleighview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Bryant Charlesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Buckmaster Ernestview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Bunny Rupertview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Burgess Arthurview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Bush Charlesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Cardamatis Wolfgangview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Carter Normanview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Chapman Evelynview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Chevalier Nicholasview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Claux Eugene Crick 1929-50view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Claxton Marshallview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Coates George Jview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Coffey Alfred 1869-1950view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Collingridge Arthurview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Collins Albertview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Colquhoun Amalieview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Colquhoun Archibald Douglasview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Conder Charlesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Cook James b1904view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Counihan Noelview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Coutts Gordonview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Cowan Lionelview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Danciger Aliceview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Dargie Williamview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Davies Davidview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Dobell Williamview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

de Maistre Royview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Drysdale Russellview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Duncan George Bview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Dundas Douglasview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Edgecombe Henry b1881view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Edwards Maryview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Eldershaw John Rview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ewart Joyview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Feint Adrianview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Felton Mauriceview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Finey Georgeview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fizelle Rahview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fleming Margaretview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Folingsby Georgeview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Folingsby George Frederick 1830-91view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fox E Phillipsview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Frater Williamview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Freedman Harold b1915view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Friend Donaldview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fry Douglas 1872-1911view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fullwood A Hview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Gallop Herbert b1890view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Garlick Harry 1877-1910view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Garrett Tom 1879-1952view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Gilliland Hector b1911view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Gleeson Jamesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Goodsir Agnesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Griffin Jane L exh 1886-7view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Griffiths Harley b1878view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Gruner Elioth 1882-1939view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Habbe Nicholas Francois 1827-1889view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hall Bernard 1859-1935view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hanke Henry b1901view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hanson Albert J 1866-1914view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hansen Allen b1911view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Harrison H B 1878-1948view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Harvey E A b1907view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Haxton Elaineview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hele Ivorview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Herman Sali view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Heysen Hansview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Heysen Noraview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hick Jacquelineview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hinder Frankview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hunt C Hview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ironside Adelaide 1831-1867view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Jackson James R b1886view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

James Roger b1914view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Joel Graceview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Johnson Robertview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Johnstone H J 1835-1907view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Jones John Llewelyn view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Jones Charles Lloyd b1878view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Jones Paul b1921view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Joyce Enaview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Kilgour J Noelview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lambert George Wview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Langker Erik b1899view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lawrence George b1901view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Leason Percy b1889view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Leist Fred 1878-1945view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Hayley-Lever Richardview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lindsay Darylview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lindsay Normanview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lindsay Percyview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lister Lister W 1859-1943view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Long Leonard H b1911view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Long Sydney (Sid)view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Longstaff John 1862-1941view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Lymburner Francisview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Mahony Frank P 1862-1916view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

McCubbin Frederickview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

McInnes W B 1889-1939view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Mackenzie Isabelview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Macleod William 1850-1929view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

McClintock Herbert b1906 (Max Ebert)view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ebert Max see McClintock Herbert b1906 view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Mann G V F 1863-1948view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Martens Conradview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Medworth Frank 1892-1947view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Meeson Dora Mrs Dora Coatesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Coates Dora see Meeson Dora view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Meldrum Maxview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Meston Emilyview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Miller Godfrey Cliveview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Missingham Halview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Moore John Dview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Murch Arthurview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Muskett Alice Jview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Nathan Jerrold b1899view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Nerli Girolamoview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Newbury A E b1891view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Nicholas Hilda Rixview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Nimmo Lornaview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Nolan Sidneyview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

O’Brien Justinview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Olley Margaretview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Orban Desideriusview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Passmore John Richadview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Paterson John Ford 1851-1912view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Patterson Ambroseview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Peisley Wilfred John b1916view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Penglase Marjoryview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Perry Adelaideview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Pidgeon William Edwin b1909view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Piguenit William Charles 1836-1914view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Power Harold Septimus 1878-1951view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Preston Margaretview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Quinn James 1871-1951view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ragless Maxview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Ramsay Hugh 1877-1906view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Read Arthur Evan b1911view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rees Lloydview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rehfisch Alisonview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rivers Richard Godfrey 1859-1925view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Roach Elmaview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Roberts Tomview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Robertshaw Fredaview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rodway Florenceview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Roth H Constance view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rousel J H R b1897view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rowell Kennethview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rowell John b1894view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Dattilo-Rubbo Aview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rubbo A Dattilo see Dattilo-Rubboview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Rubbo Ellenview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Salvana Johnview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Scarvell Jessie Eview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Scheltema Jan Hendrikview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Shaw Roderick Malcolm b1915view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Sherman Albert J b1882view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Shore Arnoldview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Smart Jeffeyview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Smith Eric J b1919view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Smith Grace Cossingtonview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Smith Jack Carrington b1908view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Smith Joshua b1905view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Solomon Lance b1913view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Spence Percy F 1868-1933view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Stainforth Martinview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Stewart Helenview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Stoddard Maryview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Strachan Davidview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Strasser Roland b1880view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Streeton Arthurview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Thornhill Dorothyview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Thornton Wallace b1915view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Toovey Doraview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Trindall G Lyall b1886view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Vagarini George b1905view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Veal Hayward b1913view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wakelin Rolandview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Walton Georgeview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Watkins J S 1886-1942view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Watson Douglas b1920view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wheeler Charlesview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wienholt Anneview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wilkie Leslie 1879-1935view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Williams Rhys b1894view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wilson Dora L 1883-1946view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wilson Eric 1911-1946view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wilson H Stuartview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Withers Walterview full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Wolinski Joseph b1872view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Zusters Reinis b1918view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Stone J W listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Stephens Ethel listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Reid D G listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Price J R listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Peters Helen A listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Jones H Moore listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fitzgerald Gerald listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Cusack Edith listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Daplyn A J listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Dymock Hetty listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Fuller Florence listed as deaccessioned details p220view full entry

Reference: see A Catalogue of Australian Oil Paintings in the National Art Gallery of New South Wales 1875 - 1952. With Annotations, biographies and index. Forward by Hal Missingham, introduction by Bernard Smith. Concise but detailed biographical information is provided for each artist listed in the catalogue together with references and in some cases ‘writings’.
Publishing details: National Art Gallery of NSW [AGNSW], 1952, pb, 234pp.

Cook Alfred 1907 – 1970view full entry

Reference: Artarmon Galleries catalogue, August, August 2020, Alfred Cook, (1907 – 1970).
Born in New Zealand 1907 and is well-known by artists who trained at East Sydney Technical College from the 1940s.

Alfred himself trained at the School of Art, Canterbury University New Zealand during 1922 to 1927.
According to the Encyclopaedia of Australian Art, Alfred Cook is represented in the Art Gallery of South Australia Adelaide,
Queen Victorian Museum and Art Gallery Launceston Tasmania and the Auckland Gallery in New Zealand.

Artarmon Galleries has nineteen of Alfred’s works for sale which have been in their storage - imaged below.
This interesting Cook exhibition compliments our Trees exhibition still on view so that small groups of visitors can enjoy new
exhibits every month during the Government limitations on exhibition programmes this year.

1 North Queenstown Tasmania Signed L/L 34 x 44 cm Oil on Board $ 3,000
2 Burrunjuck Lake Signed L/L 1969 32 x 44.5 Watercolour 800
3 Countryside with Friesians Signed L/R 44.5 x 54.5 Watercolour 450
4 Whispering Trees Unsigned 32 x 44 Pen and Watercolour 400
5 The Beacon Signed L/R 30 x 42 Oil on Paper Monotype 320
6 Sombre Hills (unframed) Unsigned 18 x 26 Oil on Paper Monotype 100
7 Tranquil Wood Signed L/R 1969 32 x 44 Watercolour 600
8 Bush composition Signed L/R 1969 33 x 46 Watercolour 650
9 Billabong, Camden Signed L/R 35.5 x 46 Oil on Board 1,200
10 Mother and Child Unsigned 25 x 20 Pen & Wash 280
11 Blue and Gold Unsigned 31 x 42 Oil on Paper Monotype 320
12 Stanley Chasm Unsigned but credited on verso 24.5 x 19.5 Oil on Board 650
13 River Valley (Unframed) Unsigned 18.5 x 26 Oil on Paper Monotype 130
14 Windswept Plain (unframed) Unsigned 30 x 43 Oil on Paper Monotype 200
15 Misty Oaks (unframed) Unsigned 30 x 43 Oil on Paper Monotype 200
16 Shoalhaven Valley Signed L/R 1969 32 x 44 Watercolour 500
17 Berrima Hills Signed L/R 1969 32 x 44 Watercolour 450
18 Pastures Moss Vale (unframed) Unsigned 12 x 20 Oil on Paper Monotype 80
19 The Headland near Kiama Unsigned 31 x 43 Oil on Paper Monotype 320

Publishing details: Artarmon Galleries, 2020.
Ref: 138

Bennett Gordonview full entry

Reference: Unfinished Business : The Art of Gordon Bennett, Contributions by Zara Stanhope, Abigail Bernal, Simon Wright, J. Faith (Kapwa) Almiron, and Tim Riley Walsh. New copy.
‘Unfinished Business offers fresh insight into the work of Australian artist Gordon Bennett (1955-2014), including new interpretations of his intelligent synthesis of influences and ideas and globally recognised contribution to contemporary art. More than 120 colour reproductions of Bennett’s paintings, installations and video works – including not only key series but also a selection of rarely seen works on paper – as well as written commentaries by Dr Zara Stanhope, Abigail Bernal, Simon Wright, Dr J. Faith Almiron and Tim Riley Walsh confirm Bennett as one of our most important contemporary artists whose influence continues to reverberate around Australia and across the world.
Produced in close collaboration with the Estate of Gordon of Bennett, Unfinished Business includes works created from the 1980s to 2014 sourced from studio, public and private collections, including early installation works; Bennett’s ‘history’ paintings; mirror paintings, De Stijl works; his ‘Home décor’ series; ‘Notes to Basquiat’ works; abstract ‘Stripe’ paintings; and late works showing renewed engagement with political contexts. Pages from the artist’s personal notebooks, as well as archival photographs provided by the Gordon Bennett Estate, provide intimate insight into how the artist worked with images and text and used drawing as a generative tool, and convey the connection with international artists in his work.’ – the publisher
Publishing details: Queensland Art Gallery I Gallery of Modern Art(QAGOMA), 2020. Quarto, gatefold wrappers, pp. 200, illustrated.
Ref: 1000

McCubbin Louisview full entry

Reference: Catalogue of pictures by Mr. Frederick McCubbin and Mr. Louis McCubbin - catalogue of 62 works by Frederick and 14 works by Louis McCubbin, small advertisement notice for the publication The Art of F. McCubbin available from the Gallery.
Publishing details: Melbourne : Athenaeum Art Gallery, [1916]. Mrs. Walter Withers, Manager. Narrow folio, exhibition catalogue, pp. [4],
Ref: 1000

McCubbin Frederickview full entry

Reference: see Catalogue of pictures by Mr. Frederick McCubbin and Mr. Louis McCubbin - catalogue of 62 works by Frederick and 14 works by Louis McCubbin, small advertisement notice for the publication The Art of F. McCubbin available from the Gallery.
Publishing details: Melbourne : Athenaeum Art Gallery, [1916]. Mrs. Walter Withers, Manager. Narrow folio, exhibition catalogue, pp. [4],

Johnson Timview full entry

Reference: Spiritual Journeying: The Art of Tim Johnson. ‘As a young Australian artist, Tim Johnson sought to look beyond the world he knew and was familiar with into mysteries that naturally come with things foreign. He wanted to explore what it was like to exist beyond the margins of his known world and to reach into alternative spaces that interested him. This book documents his spiritual journeying and creative explorations. In 1980, Johnson’s encounter with Aboriginal artists in the deserts of central Australia revolutionised his entire approach to art and life. In 1982, when he learned of the existence of the ancient medieval Buddhist cave temples of Mogao at Dunhuang in Western China, the experience also set his imagination aflame. The caves were an inspirational oasis of spirituality on the Silk Road and another powerful artistic expression in desert country. These two spiritual and artistic traditions inspired the path Johnson was to take over the next four decades. Over time his work expanded to include references to Japanese, Tibetan, Native American and a range of other sources and influences. Today, as a veteran artist, he has created an imagined universe abundantly informed by influences and ideas.’ – the publisher

Publishing details: Melbourne : Australian Scholarly Publishing, 2020. Quarto, illustrated gatefold wrappers, pp. 361, illustrated
Ref: 1000

Papapetrou Polixeni
view full entry

Reference: The ghillies : Polixeni Papapetrou.Published to accompany an exhibition held at Nellie Castan Gallery, Melbourne, 28 March – 25 May 2013.
Publishing details:
[Melbourne] : Polixeni Papapetrou, 2013. Quarto, illustrated boards, pp. 36, illustrated. Printed in an edition of 1000 copies. Invitation card enclosed.
Ref: 1000

CEMA Australianview full entry

Reference: Australian CEMA Victorian Division. Autumn Arts Festival. First Annual Exhibition 1945. o be opened by Sir Keith Murdoch. 3rd April to 13th April. Velasquez Gallery, Tye & Co., Bourke St. [Melbourne : Council for the Encouragement of Music and the Arts], 1945. Octavo, printed wrappers, pp. [8], catalogue of 156 works.
Artists include A.M.E. Bale, J. Bergner, Athur Boyd, Ian Bow, Lina Bryans, Nutter Buzacott, Victor Cobb, Noel Counihan, W. Coleman, Sybil Craig, Aileen Dent, W. Frater, Nornie Gude, Edward Heffernan, Sidney Nolan, Vic O’Connor, J. Percival (sic), Arnold Shore, Stephany(sic) Taylor, Violet Teague, Albert Tucker, Danila Vassilieff, James V. Wigley, Dora Wilson, Marguerite Mahood.
A rare and early exhibition catalogue of the newly formed Council for the Encouragement of Music and the Arts (later the Arts Council of Australia, now known as Regional Arts Australia). It features a roll call of significant painters from the period including Sidney Nolan, who would paint his famous Kelly series the following two years and exhibit them at the same Velasquez Gallery in 1948.
The catalogue also includes important works by John Perceval (A boy with a cat, A Negro painting); Albert Tucker (three works simply titled Image); Josl (Yosl) Bergner (four works titled Jews, not for sale) and Arthur Boyd (The Kite, The Circus, The Lovers).
[Copy with Douglas Stewart Fine Books, 2020. No copy traced on Trove.]

Publishing details: CEMA 1945.
Ref: 1000

Australian CEMA view full entry

Reference: see Australian CEMA Victorian Division. Autumn Arts Festival. First Annual Exhibition 1945. o be opened by Sir Keith Murdoch. 3rd April to 13th April. Velasquez Gallery, Tye & Co., Bourke St. [Melbourne : Council for the Encouragement of Music and the Arts], 1945. Octavo, printed wrappers, pp. [8], catalogue of 156 works.
Artists include A.M.E. Bale, J. Bergner, Athur Boyd, Ian Bow, Lina Bryans, Nutter Buzacott, Victor Cobb, Noel Counihan, W. Coleman, Sybil Craig, Aileen Dent, W. Frater, Nornie Gude, Edward Heffernan, Sidney Nolan, Vic O’Connor, J. Percival (sic), Arnold Shore, Stephany(sic) Taylor, Violet Teague, Albert Tucker, Danila Vassilieff, James V. Wigley, Dora Wilson, Marguerite Mahood.
A rare and early exhibition catalogue of the newly formed Council for the Encouragement of Music and the Arts (later the Arts Council of Australia, now known as Regional Arts Australia). It features a roll call of significant painters from the period including Sidney Nolan, who would paint his famous Kelly series the following two years and exhibit them at the same Velasquez Gallery in 1948.
The catalogue also includes important works by John Perceval (A boy with a cat, A Negro painting); Albert Tucker (three works simply titled Image); Josl (Yosl) Bergner (four works titled Jews, not for sale) and Arthur Boyd (The Kite, The Circus, The Lovers).
[Copy with Douglas Stewart Fine Books, 2020. No copy traced on Trove.]

Publishing details: CEMA 1945.

Melbourne Society of Women Painters and Sculptorsview full entry

Reference: Melbourne Society of Women Painters and Sculptors. By Marjorie McChesney Mathews. Brief history from 1901 – 1959
A history of the Society compiled from old minutes and reports by the Honorary Secretary.
Publishing details: Melbourne : the Society, 1959. Quarto, lettered wrappers, ribbon tied, pp. 38, printed roneo.
Ref: 1009

Henson Billview full entry

Reference: Principio erat (Artist’s edition A)Principio erat is published in a standard and deluxe edition – described as the ‘Artist’s edition’ by the publisher.
Publishing details: Paris : Editions Bessard, 2019. Folio, pictorial laminated boards, pp. [70], several double fold-out pages, printed on high quality matt photographic paper.
Ref: 1000

Spirits in the Bush: The Art of Gippslandview full entry

Reference: Spirits in the Bush: The Art of Gippsland by Simon Gregg. Some biographical information on the artists illustrated is provided. [To be indexed fully - only the artists illustrated have been indexed.] [‘Spirits in the Bush surveys the art of Gippsland, from the colonial to the contemporary. This expansive, original and illuminating compendium leads readers on a journey through artistic and provincial history, interweaving the lives of residents and visitors. Collectively, it presents a vivid account of the influence of place on the cultural imagination.’ – the publisher [to be indexed]

Publishing details: Melbourne : Australian Scholarly Publishing, 2019. Quarto, illustrated wrappers, pp. 361, illustrated.

Yang Williamview full entry

Reference: Starting again : a time in the life of William Yang.

Publishing details: Melbourne : Heinemann, 1989. Oblong quarto, illustrated gatefold wrappers, pp. 122,
Ref: 1000

Moffatt Traceyview full entry

Reference: Spirited. [Tracey Moffatt represented Australia at the Venice Biennale in 2017.]
Publishing details: Brisbane : Queensland Art Gallery, 2014. Quarto, gilt-lettered cloth in illustrated dustjacket, pp. 112, illustrated.
Ref: 1000

Aboriginal artview full entry

Reference: see An Exhibition of Oenpelli paintings on bark. Presented by the Australian Gallery Directors Council for the Aboriginal Arts Board of the Australia Council.
Publishing details: [Sydney] : Aboriginal Arts Board of the Australia Council, circa 1978. Quarto, illustrated wrappers, pp. 52, illustrated.

Schmeisser Jorgview full entry

Reference: Elsewhere. Jörg Schmeisser, text by Susan Reid and the artist.
Publishing details: Cairns : Cairns Regional Gallery, 2007. Quarto, folding card, illustrated, pp. [4],
Ref: 1000

Nikulincky Philippaview full entry

Reference: Wildflowers in watercolour : journal
Watercolours of Western Australian wildflowers by the Kalgoorlie born artist.
Publishing details: Fremantle, W.A. : Fremantle Arts Centre Press, 2000. Octavo, boards in dustjacket, unpaginated.
Ref: 1000

Eye of the Stormview full entry

Reference: The eye of the storm : eight contemporary indigenous Australian artists
Includes the works of George Milpurrurru, John Mawurndjul, Brian Nyinawanga, Fiona Foley, Ken Thaiday, Roy Wiggan, Rover Thomas, and Kwementway Kngwarreye.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.
Ref: 1000

Aboriginal artview full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Milpurrurru George view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Mawurndjul John view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Nyinawanga Brian view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Foley Fiona view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Thaiday Ken view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Wiggan Roy view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Thomas Rover view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Kngwarreye Kwementway .view full entry

Reference: see The eye of the storm : eight contemporary indigenous Australian artists.
Publishing details: New Delhi : National Gallery of Modern Art, 1996. Octavo, illustrated wrappers, pp. 112, illustrated.

Nolan Sidneyview full entry

Reference: Antarctic paintings by Sidney Nolan catalogue of 18 priced works. Also included a catalogue of a secondary exhibition of the artist Max Hurley. ‘In 1964 Nolan visited Antarctica, fulfilling a boyhood passion for the continent and the story of its explorers: Shackleton, Scott and Mawson.
Publishing details: Adelaide : Bonython Art Gallery, 1965. Octavo, exhibition catalogue, folded sheet, pp. 6, illustrated,
Ref: 1000

Hurley Maxview full entry

Reference: see Antarctic paintings by Sidney Nolan catalogue of 18 priced works. Also included a catalogue of a secondary exhibition of the artist Max Hurley. ‘In 1964 Nolan visited Antarctica, fulfilling a boyhood passion for the continent and the story of its explorers: Shackleton, Scott and Mawson.
Publishing details: Adelaide : Bonython Art Gallery, 1965. Octavo, exhibition catalogue, folded sheet, pp. 6, illustrated,

Lindsay Normanview full entry

Reference: An exhibition of fine books, drawings and photographs arranged to commemorate the centenary of the birth in February 1879 of Norman Lindsay
Publishing details: Melbourne : La Trobe Library, State Library of Victoria, 1979. Foolscap folio, pp. [6], roneo sheets, text, catalogue of exhibits.
Ref: 1009

Robinson Williamview full entry

Reference: William Robinson : paintings 1987 – 2000
Selected and edited by Lou Klepac ; with notes and commentaries by William Robinson.
‘Robinson is an exceptional painter who during the last two decaded has emerged as one of the most original Australian artists of the 20th century. He has changed the way we perceive landscape and added a new and important chapter to the history of Australian painting. This book focuses on his recent landscapes.’
Publishing details: Quarto, boards in dustjacket (lower edge rubbed), pp. 204, illustrated.
Ref: 1000

Cole Dr F Hobill view full entry

Reference: Catalogue of original paintings & drawings by early Australian artists from the art collection of Dr. F. Hobill Cole.

Includes works by Henry Burn, S. T. Gill, J. Skinner Prout, F. Garling, J. H. Carse, Louis Buvelot, Robert Russell, Henry Gritten, Nicholas Chevalier, Neville Cayley, John Glover et al.

Publishing details: Melbourne : The Fine Art Society in conjunction with Leonard Joel, 1923. Quarto, lettered wrapper (split to spine), bookplate inside upper wrapper, pp. 30, tipped-in colour and black and white illustrations.
Ref: 1000

Gregory Drewview full entry

Reference: Drew Gregory, catalogue with
illustrations, biographical notes and artist’s comments.
Publishing details: Melbourne : Delshan Art Gallery, [2003]. Quarto, illustrated self wrappers, [pp. 8],
Ref: 1000

Nolan Sidneyview full entry

Reference: Sidney Nolan : drought photographs
Text by Damian Smith and Sidney Nolan.
Publishing details: Melbourne : Australian Galleries, 2011. Octavo, exhibition catalogue, folded card, pp. [6], illustrated.
Ref: 1000

Metamorphosis - contemporary Australian Aboriginal photography and sculptureview full entry

Reference: Metamorphosis : contemporary Australian Aboriginal photography and sculpture
Curated by Gabrielle Pizzi. Catalogue of an exhibition held at the Palazzo Papadopoli, Venice, 14 June – 13 July 1997
Publishing details: Melbourne, Vic. : Gabrielle Pizzi, 1997. Quarto, illustrated card wrappers, pp. 93, illustrated.
Ref: 1000

Aboriginal photography and sculptureview full entry

Reference: Metamorphosis : contemporary Australian Aboriginal photography and sculpture
Curated by Gabrielle Pizzi. Catalogue of an exhibition held at the Palazzo Papadopoli, Venice, 14 June – 13 July 1997
Publishing details: Melbourne, Vic. : Gabrielle Pizzi, 1997. Quarto, illustrated card wrappers, pp. 93, illustrated.

Aboriginal sculpture and photography view full entry

Reference: Metamorphosis : contemporary Australian Aboriginal photography and sculpture
Curated by Gabrielle Pizzi. Catalogue of an exhibition held at the Palazzo Papadopoli, Venice, 14 June – 13 July 1997
Publishing details: Melbourne, Vic. : Gabrielle Pizzi, 1997. Quarto, illustrated card wrappers, pp. 93, illustrated.

Smith Kevinview full entry

Reference: The art of Kevin Smith : paintings & drawings, sculpture, mirrors, furniture, boxes, photographs. Self-produced volume from the formally trained Melbourne artist.
Publishing details: Campbell’s Creek (Vic.) : Book Heaven, 2014. Quarto, illustrated wrappers, pp. 345, illustrated. Limited to 100 numbered copies.
Ref: 1000

Cook Michaelview full entry

Reference: Michael Cook, catalogue.

‘Michael Cook is a photographer who worked commercially both in Australia and overseas for twenty-five years. In 2009, Cook was drawn into art photography by an increasingly urgent desire to learn about his Aboriginal ancestry and identity. As a child, Cook was adopted and raised by a non-Indigenous family. Although they were not Aboriginal, they were active in their support of Indigenous rights. He said, ‘I was raised with a strong understanding of my Aboriginal ancestry thanks to my parents. When I produce art, I feel a stronger connection with my ancestry. This helps me to understand Australian history-in particular, my history.’
Drawing upon his many years of experience as a photographer within the commercial fashion industry, he employs photographic layering to build his images. Also, he characteristically works in photographic series, his unfolding tableaux offer insolvable narratives which are not prescribed but left open to interpretation.’ – Art Gallery of New South Wales website https://www.artgallery.nsw.gov.au/collection/works/102.2014.a-g/
See Also
Publishing details: Brisbane : Andrew Baker Art Dealer, circa 2015. Quarto, illustrated wrappers, pp. [20], illustrated.
Ref: 1000

Cook Michaelview full entry

Reference: Michael Cook.
‘Michael Cook is a photographer who worked commercially both in Australia and overseas for twenty-five years. In 2009, Cook was drawn into art photography by an increasingly urgent desire to learn about his Aboriginal ancestry and identity. As a child, Cook was adopted and raised by a non-Indigenous family. Although they were not Aboriginal, they were active in their support of Indigenous rights. He said, ‘I was raised with a strong understanding of my Aboriginal ancestry thanks to my parents. When I produce art, I feel a stronger connection with my ancestry. This helps me to understand Australian history-in particular, my history.’
Drawing upon his many years of experience as a photographer within the commercial fashion industry, he employs photographic layering to build his images. Also, he characteristically works in photographic series, his unfolding tableaux offer insolvable narratives which are not prescribed but left open to interpretation.
‘Majority rule’ 2014 is a landmark series by Cook in which he creates scenarios as a way of questioning Australian history and the dominance of those in power. Within each work, the character’s multiplicity signifies the non-reality of the image created. The works are poignant reminders of the lack of Indigenous representation with Parliament, the judicial system and the business world, as well as the lack of acknowledgement of Indigenous people who have been members of our military.’ – Art Gallery of New South Wales website https://www.artgallery.nsw.gov.au/collection/works/102.2014.a-g/
See Also
Publishing details: Brisbane : Andrew Baker Art Dealer, 2014. Quarto, illustrated wrappers, pp. [16], illustrated. Essay by Louise Martin-Chew. Printed in an edition of 1000 copies.
Ref: 1000

Canning Crissview full entry

Reference: Criss Canning, exhibition catalogue.
Publishing details: Melbourne : Sotheby’s Australia, 2018. Quarto, gilt-lettered black cloth in illustrated dustjacket, pp. 44, illustrated with 20 oil paintings by the artist. Hardcover
Ref: 1000

Arkley Howardview full entry

Reference: Howard Arkley. Exhibition & sale of 40 paintings
Publishing details: Melbourne : Metro 5 Gallery, 2002. Quarto, folding exhibition catalogue, pp. [8], illustrated, essay by David Thomas.
Ref: 1000

Lindsay Lionelview full entry

Reference: Lionel Lindsay : artist, adventurer and advocate by Geoffrey Newmarch. A study of Creswick born Lionel Lindsay.
Publishing details: Creswick [Vic.] : Creswick Museum, 2012. Octavo, illustrated wrappers, pp. [24], illustrated.
Ref: 1009

Edwards Lionelview full entry

Reference: A collection of poetical works by Adam Lindsay Gordon, accompanied by a number of delightful illustrations by Lionel Edwards.
Publishing details: Constable and Company Ltd. London, 1927, 104pp
Ref: 1000

Savill Dennisview full entry

Reference: Breaking history : Denis Savill “I did it my way”. Celebrating 35 years in business, a major exhibition with selected works for sale. illustrated with Blackman, Friend, Smart, Boyd, Shean, Nolan, Whiteley and Williams.
Publishing details: Sydney : Savill Galleries, 2015. Quarto, exhibition catalogue, pp. 8,
Ref: 1000

Drysdale Russellview full entry

Reference: Russell Drysdale Memorial Auction, catalogue of 108 artworks, annotated with prices.Fundraising auction for the Drysdale Memorial in the Monash University Art Gallery.
Publishing details: Melbourne : Sotheby’s Australia, 1983. Quarto, illustrated wrappers, pp. [4],
Ref: 1000

Crooke Rayview full entry

Reference: Tahiti. Paintings and drawings by Ray Crooke, foreword by June Crooke, catalogue of 22 paintings plus drawings.
Publishing details: Melbourne : Australian Galleries, 1972. Quarto, lettered wrappers, pp. 8, central crease, illustrated,
Ref: 1000

Appleton Jeanview full entry

Reference: Jean Appleton

Publishing details: Adelaide : Greenhill Galleries, 1989. Quarto, illustrated wrappers, pp. [8], illustrated.
Ref: 1000

Felt space gold : a survey of emerging contemporary art practice in South Australia 2011view full entry

Reference: Felt space gold : a survey of emerging contemporary art practice in South Australia 2011. [to be indexed]
FELT space GOLD presents the work of South Australia’s brightest up and coming contemporary artists, surveying the practices of twenty eight emerging artists working in the areas of cross-disciplinary practice, collaboration, performance, video, glass, sculpture, painting, and drawing. The work of each artist is superbly illustrated and accompanied by a specially commissioned text from one of four emerging arts writers, along with essays from founding FELT members and the director of the Australian Experimental Art Foundation.

Publishing details: Adelaide, SA : FELTspace, [2011]. Quarto, lettered wrappers, unpaginated, illustrated.
Ref: 1000

contemporary art practice in South Australia 2011view full entry

Reference: see Felt space gold : a survey of emerging contemporary art practice in South Australia 2011. [to be indexed]
FELT space GOLD presents the work of South Australia’s brightest up and coming contemporary artists, surveying the practices of twenty eight emerging artists working in the areas of cross-disciplinary practice, collaboration, performance, video, glass, sculpture, painting, and drawing. The work of each artist is superbly illustrated and accompanied by a specially commissioned text from one of four emerging arts writers, along with essays from founding FELT members and the director of the Australian Experimental Art Foundation.

Publishing details: Adelaide, SA : FELTspace, [2011]. Quarto, lettered wrappers, unpaginated, illustrated.

Paterson Estherview full entry

Reference: Esther Paterson : a creative life. By EISENBERG, Joseph and DOWNER, Caroline
Publishing details: Armidale : New England Regional Art Museum, 2001. Quarto, illustrated wrappers, pp. 24, illustrated.
Ref: 1009

South Australia rephotographedview full entry

Reference: South Australia rephotographed. Catalogue of the exhibition produced for the Fifteenth Biennial Festival of Arts by the South Australian Visual Arts Committee and others.Coordinator, Alan Cruickshank ; essay by Martyn Jolly. Includes works by Ian North, Fiona Hall, Samuel Sweet et al. [to be indexed]
Publishing details: Adelaide : Adelaide Festival of Arts Inc., [1988]. Quarto, lettered wrappers, pp. [24, illustrated.
Ref: 1000

photography South Australiaview full entry

Reference: see South Australia rephotographed. Catalogue of the exhibition produced for the Fifteenth Biennial Festival of Arts by the South Australian Visual Arts Committee and others.Coordinator, Alan Cruickshank ; essay by Martyn Jolly. Includes works by Ian North, Fiona Hall, Samuel Sweet et al. [to be indexed]
Publishing details: Adelaide : Adelaide Festival of Arts Inc., [1988]. Quarto, lettered wrappers, pp. [24, illustrated.

Hunter Toddview full entry

Reference: Todd Hunter : doused (signed copy)
Catalogue of an exhibition held at Scott Livesey Galleries, Armadale, Melbourne, 13 April – 4 May 2013
Publishing details: Melbourne : Scott Livesey Galleries, 2013. Quarto, illustrated wrappers, pp. 36, illustrated.
Ref: 1000

Lindsay Normanview full entry

Reference: Norman Lindsay Issue]. Quadrant. November – December 1969. No. 62, Vol. XIII, No. 6. Includes an article by Nancy Keesing on Norman Lindsay, following his death that year, and an article by A. D> Hope on his pencil drawings.
Publishing details: Sydney : Quadrant, 1969. Quarto, printed wrappers with a portrait photograph of Norman Lindsay (by Keith Wingrove), pp. 80.
Ref: 1000

A’Beckett Edward (1844-1932; Australian)view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Altson Aby (1866-1948; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Altson Meyer (1881-1965; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Austin William (active 1850-84; English/Australian): Austin Arrival of the First Gold Escort {1884} SLV [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Barak William (1824-1903; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Batchelder & Co. (active c.1856-95; Australian): Batchelder & Co. & others: Fasti Victorienses {c.1865} SLV [PH]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Becker Ludwig (1808-61; German/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Bernard D. & Co. (active c.1902; Australian): Bernard & Co. First Parliament 1901 {1902} SLV [PH]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Bernard D. & Co. (active c.1902; Australian): Bernard & Co. First Parliament 1901 {1902} SLV [PH]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Nixon Johnview full entry

Reference: see Sydney Morning Herald, 19.8.2020, p12:
'A profound loss’: artist John Nixon dead at 70 - by Linda Morris
The influential Australian abstract artist and leading exponent of radical modernism, John Nixon, has died.
Nixon, who was 70, died at his home in Melbourne yesterday morning after a year-long struggle with leukaemia.
Nicholas Chambers, the Art Gallery of NSW’s senior curator of modern and contemporary international art, said Nixon’s contribution to contemporary art in Australia was immense.
Nixon’s work is held in the collections of the Museum of Contemporary Art, National Gallery of Australia and other state galleries as well as public collections in Denmark, France, Germany, Korea, New Zealand, Poland and the United States.
‘‘Over the course of more than half a century, he forged a practice marked by its independence, experimentation, passion, and humility,’’ Mr Chambers said. ‘‘John was represented in every major collection in the country, and several in Europe, but he never rested on his laurels.
‘‘He was always exploring, brimming with ideas, and giving platforms to younger artists.
‘‘He was a friend, supporter, and mentor to so many in Australia’s arts community. It is a profound loss.’’
Nixon studied at the Preston Institute of Technology in 1968, then the National Gallery School, and was first exhibited at the legendary Melbourne avantgarde gallery Pinacotheca in 1973. Later that decade Nixon established the gallery Art Projects in Melbourne with thenwife, Jenny Watson, one of a number of exhibition spaces and publishing ventures that he hoped would provide an outlet for the distribution and discussion of art ideas.
These projects were pivotal in offering publishing platforms for Nixon’s own works as well as many of his contemporaries including Tony Clark, Robert Owen, Peter Tyndall, Mike Parr and Imants Tillers.
Gallerist and friend Anna Schwartz said Nixon’s support of artists was one of his great qualities and he was always excited to collaborate with others on projects.
Nixon’s minimalist, abstract aesthetic was influenced by the Russian avant-garde artist and art theorist Kazimir Malevich.
Ms Schwartz said Nixon was prolific in output and his practice ranged across radical modernism, abstraction, minimalism, constructivism, non-objective art, the monochrome and the ‘readymade’. His work, she said, was all-encompassing and included painting, collage, print-making, drawing, photography, film, dance, experimental music, art theatre direction, graphic design, curating and teaching.
‘‘As one of John’s friends said to me last night, John made something out of nothing; he was doing that in his work every day of his life,’’ Ms Schwartz said. ‘‘He would make work from the most unlikely materials, from what was around him and transformed it into art, into a particular language of art.
‘‘It was, in one way, very straightforward, to do with the ordinary, but transformational into something powerful and contemplative. John always resiled from his work being seen in a metaphoric way but one can’t help but do that.’’
Nixon, who was awarded an Australia Council Fellowship Award in 2001, is survived by wife, Sue Cramer, a curator at the Heidi Museum of Modern Art, and daughter Emma Nixon.

Barak William (1824-1903; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Becker Ludwig (1808-61; German/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Blyth Eliza (1820-94; English/Australian): Blyth [attrib.] Australian Flowers {1872} Loc? [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Boake Barcroft Capel (1838-1921; Irish/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Botterill John (1817-81; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Boyd Arthur Merric Senior (1862-1940; New Zealander/Australian): Boyd (A.) Waiting for the tide 1895 {1895} Loc? [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Boyd Emma Minnie (1858-1936; Australian): Boyd (E.) To the Workhouse 1891 {1893} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Burtt John Wesley (1839-1917; English/Australian): Unknown (Burtt?) Sir Charles Darling {1890} SLV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Caire Nicholas (1837-1918; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Calvert Samuel (1828-1913; English/Australian): Calvert (?) after Cope view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Cope - Calvert Samuel (1828-1913; English/Australian): Calvert (?) after Copeview full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Carmichael John (1803-57; Scottish/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Chuck Thomas Foster (1826-98; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Clark John Heaviside (c.1771-1863; Scottish): Clark (J.) after Eyre View of Sydney (nos.1 & 2) {1904} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Clark Thomas (c.1814-83; English/Australian): Clark (T.) Sir Henry Barkly {1865} SLV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Coates George (1869-1930; Australian/English)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Cook Ebenezer Wake (1844-1926; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Davies David (1864-1939; Australian): Davies (D.) Moonrise Templestowe 1894 {1895} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Davies Henry Easom (1831-68; English/ Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Dawson Patrick (active 1866-72; Australian): Dawson Australian Aboriginal Cricketers 1867 {1896} SLV [PH]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Dayes Edward (1763-1804; English): Dayes after Hunter Sydney Cove Port Jackson 1792 {by 1894} Loc? [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

De Gruchy Henry (1828-82; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Dowling Robert (1827-86; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Dufty Brothers (active 1870s-80s; Australian): Dufty Brothers Views of Fiji {1873?} SLV [PH]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Eyre John (1771-after 1812; English/Australian): Clark (J.) after Eyre View of Sydney (nos.1 & 2) {1904} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Folingsby George Frederick (1828-91; Irish/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Ford William (1823-84; English/Australian): Ford Life and Death of a Rose {1883} Loc? [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Fox Emmanuel Phillips (1865-1915; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Fuller Florence Ada (1867-1946; Australian): Fuller Barak 1885 {1901} SLV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gilbert George Alexander (1815-before 1889; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gilbert James (1830-85; Irish/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gill S T (1818-80; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Glover John (1767-1849; English/Australian): Glover (J.) Tasmanian Landscape {1900} Loc? [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gordon-Frazer Charles (1863-99; British/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gregory George Frederick Senior (c.1824-87; English/Australian)view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

George Frederick Junior (1857-1913; Australian): Gregory (G.) The “Lady Nelson” 1879 {1880} SLV [PA]view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gritten Henry (1818-73; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Guérard Eugène von (1811-1901; Austrian/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Gully John (1819-88; English/New Zealander)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Halse George (1826-95; English): Halse Advance Australia 1865 {1891} Loc? [SC]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Ham Thomas (1821-70; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Hern Charles Edward (1848-93; Australian/English): Hern Fishing boats Rhyl {1892} Loc? [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Hoddle Robert (1794-1881; English/ Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Hodges William (1744-97; English)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Hood John (c.1839-1924; English/Australian): Hood Sir Dominick Daly 1878 {1878} SLV [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Humphrey Tom (1858-1922; Scottish/Australian): Humphrey Under a Summer Sun 1895 {1895} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Jackson Arthur Levett (1834-88; Australian?)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Johnstone O’Shannessy & Co. (active c.1862-1905; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Kemp John (active 1876-80; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Liardet W.F.E. (1799-1878; English/ Australian): Lowry after Liardet View of Melbourne 1845 {1859} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Lindsay Norman (1879-1969; Australian): Lindsay (N.) My Ancestors 1903 {1904} NGV [DR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Longstaff John (1861-1941; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Loureiro Artur Jose (1853-1932; Portuguese/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

McCubbin Frederick (1855-1907; Australian): McCubbin A Winter Evening 1897 {1900} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Mackennal Bertram (1863-1931; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Martens Conrad (1801-78; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Mather John (1848-1916; Scottish/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

May Phil (1864-1903; English)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Meldrum Max (1875-1955; Scottish/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Moffitt William (1802-74; English/Australian): Moffitt Billy Blue’s Cottage {1891} Loc? [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Montefiore Eliezer Levi (1820-94; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Nash Joseph (1809-78; English): Nash Australian Section… London 1862 1863 {1881} SLV [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Nuttall Charles (1872-1934; Australian): Nuttall [after] First Commonwealth Parliament of Australia 1902 {1903} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

O’Brien George (1821-88; Irish/New Zealander)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Paterson John Ford (1851-1912; Scottish/Australian): Paterson Fernshaw 1900 {1900} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Peacock George Edwards (1806-1875?; English?): Risdon after Peacock View of Sydney Harbour 1860 {1869} Loc? [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Peele James (1847-1905; English): Peele Evening Shadows Otira Gorge 1891 {1891} Loc? [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Preston Walter (1777-after 1821; English): Preston after Lycett (?) Corroboree {1878} Loc? [ET]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Prout John Skinner (1805-76; English): Prout 6 Views of Melbourne and Geelong 1847 {1868} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Quinn James (1870-1951; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Ramsay Hugh (1877-1906; Scottish/Australian): Ramsay Life study {1899} Loc? [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Ransome Richard (active in Melbourne 1850s-60s): Ransome Great Bourke Street Melbourne {1891} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Richardson Charles Douglas (1853-1932; English/Australian): Richardson (C.) “O Grave Where is thy Victory?” 1898 {1899} Loc? [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Richmond James Crowe (1822-98; New Zealander): Richmond Lake Wanaka and Mount Aspiring {1872} Loc? [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Risdon Charles (19thcentury;English): Risdon after Peacock View of Sydney Harbour 1860 {1869} Loc? [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Robertson Andrew (active 1860-80; Australian?): Robertson Melbourne from the Flagstaff Hill {1880} SLV [WT]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Rowan Ellis (1848-1922; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Russell Robert (1808-1900; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Sadd Henry Samuel (c.1811-93; English/Australian): Sadd Catholic hierarchy in Australia 1869 {1870} SLV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Saupé August (active in Australia from late 1870s; d.1913; German): Saupé Marcus Clarke {1893} Loc? [SC]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Scheltema Jan Hendrik (1861-1941; Dutch/Australian): Scheltema Driving in the cows {1895} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Schoenfeld Frederick (1810-68; Swiss/Australian): Schoenfeld after Michelangelo The Crucifixion 1860 {1868} NGV [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Scurry James (1826-94; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Simonetti Achille (1838-1900; Italian/Australian): Simonetti Commodore James Goodenough {by 1880} Loc? [SC]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Strafford George (c.1820-96; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Streeton Arthur (1867-1943; Australian): Streeton ‘The Purple Noon’s Transparent Might’ 1896 {1896} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Strutt William (1825-1915; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Summers Charles Francis (1857-1945; Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Taylor Ghee Robert Edgar (1869-1951; Australian): Taylor Ghee Donnelly Creek Healesville 1895 {1895} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Thomas Margaret (1843-1929; English)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Todt Emil (1809-1900; German)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Tucker Tudor St George (1862-1906; English/Australian): Tucker Maid of all work {1900} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Waite James Clarke (1832-1920; English/Australian)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Walker Edmund (active from 1836; d.1882; English): Walker (E.) after Gilfallan Interior of a Native Village {by 1894} Loc? [PR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Walter Carl (1831-1907; German/Australian): Walter Portraits of Coranderkk Aboriginals 1866 {1866} SLV [PH]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Webber John (1751-93; English)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Withers Walter (1854-1914; English/Australian): Withers Tranquil Winter 1895 {1895} NGV [PA]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Woolner Thomas (1825-92; English)
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Wrigglesworth & Binns (active c.1870-1900; New Zealanders): Wrigglesworth & Binns [after?] Captain Spotswood {1887} SLV [DR]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Wyon Joseph Shepherd (1838-73; English): Wyon Melbourne Exhibition Medal 1854 {by 1880} Loc? [SC]
view full entry

Reference: see NGV/SLV catalogue/s. This artist is listed on the website beforefelton.com/artists/ which lists artists represented in the Melbourne Public Library/National Gallery of Victoria, from the foundation of the Library in 1853 until the Felton Bequest (1904), ‘most of them (it should be observed) contemporary artists, i.e. active during the period (c.1860-1904)’.

Woolner Thomas sculptures Wallington Hall UKview full entry

Reference: see lot 161, Sworders, 08 Sep 2020, Essex.UK:
An embroidered panel, 'Maids of Honour', designed by May Morris in 1880-92, the verse reads 'Welcome maids of honour - You do bring in the spring and wait upon her', inset into a mahogany firescreen,
62cm wide
90cm high  Provenance: From a descendant of the Trevelyan Family of Wallington Hall, Northumberland.

May Morris, William’s youngest daughter, was an important figure in the Arts and Crafts Movement. The verse is the opening of 'To Violets' by Robert Herrick, a 17th century poet. May helped transform embroidery from a domestic pastime - undervalued because it was mostly done by women - into a serious art form. Her work was exhibited widely and pieces like this showed what could be achieved by imaginative and inventive free-hand stitching, as opposed to the more plodding woolwork dominating much amateur production.  May had become the head of Morris and Co.’s embroidery department by the time she was twenty-three, but she was concerned by the lack of professional organisations open to women and tried to redress this by founding the Women’s Guild of Arts in 1907.  Wallington Hall is now owned by the National Trust. The interiors were remodelled with Pre-Raphaeliate art, sculpture and decoration.  The artist William Bell Scott was commissioned to paint the walls with a series of vivid Pre-Raphaelite scenes depicting great moments in the history of Northumberland. Bell carried out most of the painting and one panel was painted by John Ruskin. Another Pre-Raphaelite friend of the Trevelyan family was sculptor Thomas Woolner, who created sculptures in the entrance hall.  Lady Mary Terevelyan (1881-1966) was keen on the arts and there are a series of tapestries woven by her at Wallington Hall – it may be that she used the May Morris design from a pattern which was known to have been published in the ‘Day Book’.

Minimal Artview full entry

Reference: Minimal Art in Australia Museum of Contemporary Art Brisbane Exhibition Catalogue [to be indexed]
Publishing details: Museum of Contemporary Art Brisbane, 1987
Ref: 1000

Contemporary Art in Australiaview full entry

Reference: Contemporary Art in Australia - a Review. MOCA (Museum of Contemporary Art). Exhibition to mark the opening of the Museum of Contemporary Art, Brisbane, 18th July, 1987.exhibition catalogue. [to be indexed]
Publishing details: Brisbane : Museum of Contemporary Art, 1987, 83 p.
Ref: 1000

Makigawa Akio view full entry

Reference: see Smith and Singer, 2 September, 2020, lot 32 & 33, with catalogue essay:
AKIO MAKIGAWA
1948-1999
Untitled (1992)
Carrara white marble and Carrara black marble
97 x 50 x 18 cm
Provenance
Irving Gallery, Sydney
Dr Robert Piaggio, Melbourne, acquired from the above on 24 September 1992
The Estate of the Late Dr Robert Piaggio, Melbourne
Literature
Jackie Cooper, Akio Makigawa, Carlier Makigawa, Melbourne, 2013, cat. no. 105, pp. 68-69 (illustrated), 70-71 (illustrated), 559 (illustrated)
and
AKIO MAKIGAWA
1948-1999
Untitled 1999
stainless steel, edition 1 of 6
signed, dated and inscribed 'Akio / 1/6 1999' on base
48 x 100 x 48 cm
Provenance
Anna Schwartz Gallery, Melbourne
Private Collection, Melbourne
Bonhams & Goodman, Melbourne
Dr Robert Piaggio, Melbourne, acquired from the above in November 2007
The Estate of the Late Dr Robert Piaggio, Melbourne

Makigawa Akio view full entry

Reference: Akio Makigawa, principal writer and editor: Jackie Cooper
Publishing details: Carlier Makigawa, 2013, South Yarra, Victoria : Macmillan Art Publishing, 2013, 565 pages. chiefly photographs (some colour)
Ref: 1000

Green Charlesview full entry

Reference: see Australian War Memorial Annual Report, 2006-2007, p17:
Charles Green and Lyndell Brown, official artists, and Sean Hobbs, official photographer, were deployed to the Persian Gulf, Iraq, and Afghanistan for a period of five weeks during the year. Hobbs brought back some 4,000 images for the National Collection covering the work of all three services in operation on that deployment. The artists will work during the coming year on producing 30 small and three larger paintings for the collection. During their deployment they were all able to spend time with members of the Royal Australian Navy,
the Royal Australian Air Force, and the Australian Army. This deployment was made possible through the assistance of the Australian Defence Force.
Publishing details: AWM, 2007

Brown Lyndell view full entry

Reference: see Australian War Memorial Annual Report, 2006-2007, p17:
Charles Green and Lyndell Brown, official artists, and Sean Hobbs, official photographer, were deployed to the Persian Gulf, Iraq, and Afghanistan for a period of five weeks during the year. Hobbs brought back some 4,000 images for the National Collection covering the work of all three services in operation on that deployment. The artists will work during the coming year on producing 30 small and three larger paintings for the collection. During their deployment they were all able to spend time with members of the Royal Australian Navy,
the Royal Australian Air Force, and the Australian Army. This deployment was made possible through the assistance of the Australian Defence Force.
Publishing details: AWM, 2007

Hobbs Seanview full entry

Reference: see Australian War Memorial Annual Report, 2006-2007, p17:
Charles Green and Lyndell Brown, official artists, and Sean Hobbs, official photographer, were deployed to the Persian Gulf, Iraq, and Afghanistan for a period of five weeks during the year. Hobbs brought back some 4,000 images for the National Collection covering the work of all three services in operation on that deployment. The artists will work during the coming year on producing 30 small and three larger paintings for the collection. During their deployment they were all able to spend time with members of the Royal Australian Navy,
the Royal Australian Air Force, and the Australian Army. This deployment was made possible through the assistance of the Australian Defence Force.
Publishing details: AWM, 2007

Rafin Nickview full entry

Reference: see KLAS Art Auction
September 6, 2020, Selangor, Malaysia:
Nik Rafin (b. 1974)
Lot 42: NIK RAFIN : Melbourne CBD, Trams & Wet Evening (Melbourne Cityscape Series) 1999
Nik Rafin’s paintings are a reflection of the scenes and subjects that he captures through his camera lens, reinterpreted and reproduced in painting form with added emotions. Some of the subjects of his works include buildings, wildlife and sceneries, with some done in sketches and some done in watercolour. Nik Rafin has also produced abstract paintings with his Escape series, a personal interpretation of how a person feels when escaping from negative emotions. Nik Rafin studied Advanced Photography in the USA and pursued a Minor in Fine Arts at the Milwaukee Institute of Art and Design. He was an illustrator for Milwaukeeês newspaper, The Marquette Tribune.
Dimensions
16.5 x 10.5 cm, 20 x 16 cm & 16 x 12 cm
Artist or Maker
NIK RAFIN B. Selangor, Malaysia 1974
Medium
Watercolour on paper
Condition Report
Good Condition
Provenance
Private Collection, Kuala Lumpur
Notes
Signed “Raf 99” on lower left on all 3 artworks

Anthony Dennis Pryor (1951-1991) view full entry

Reference: see Bonhams
September 1, 2020,, lot 20:
Anthony Dennis Pryor (1951-1991)
Amadore, 1989
bronze, brass and pink Portuguese marble
height: 203.0cm (79 15/16in). (overall)
For further information on this lot please visit the Bonhams website
Artist or Maker
Anthony Dennis Pryor (1951-1991)
Provenance
PROVENANCE
Collection of Jutta Pryor
Private collection, Sydney

EXHIBITED
Realities Gallery, Melbourne, October 1989, cat. 131

LITERATURE
Jenny Zimmer et al, Anthony Pryor: Sculpture & Drawings 1974-1991, Macmillan Publishers Australia, Melbourne, 1999, pl. 141, p.160 (illus.), p.216

Melbourne artist, Anthony Pryor had originally trained as an engineer before taking up sculpture in 1971. Initially working with wood and metal after an inspiring trip to Japan, he discovered the beauty of marble late in his short career, marrying it with brass, bronze and steel in his last, and arguably best works.

Amadore was among a series of works incorporating marble that were inspired by The Performers, 1989-1990 - a group of seven, three metre tall public sculptures installed in the street and leading into the foyer of 533 St Kilda Rd, Melbourne.

' Amadore and Beware of the Siren, of 1989-90, have clear associations with sketches for the bronze garden court Performers; the figurative nature of these late works being as much about the organic vitality of plant life as of the human figure. (One of the artist's delights was to walk in the rainforest). Marble is given prominence in these sculptures as the principal motif in otherwise metal superstructures raised on curved bronze 'stalks'. The highly polished marble is presented as a sensuous object, a fecund bud, suggesting a symbol of regeneration'.1

In Amadore, Pryor has 'shaped, notched and polished its pink portugese marble 'head' which is mounted on an elegant backward curving bronze column. it is suddenly impossible to read the work as relating to the landscape... Amadore's marble head, sheathed between two long shafts of brass, is calm composed and self-contained, reminiscent of Brancusi's Sleeping Muse (1908) or Sleeping Muse II (1910). it focuses on the human condition, perhaps as a result of the introspection that must have come with Pryor's illness'.2

1. Judith Trimble, 'Stone, and the 'Illustrious Marbles' in Jenny Zimmer et al, Anthony Pryor: Sculpture & Drawings 1974-1991, Macmillan Publishers Australia, Melbourne, 1999, p.173-174
2. ibid, p. 179

Hornel Edward Atkinsonview full entry

Reference: see McTears auction, 26 Aug 2020,
Glasgow, lot 35:
EDWARD ATKINSON HORNEL (SCOTTISH 1864 - 1933), BURMESE DANCING GIRLS oil on canvas laid down on panel 56cm x 23cm Framed and under glass. Provenance: Sotheby's, Scottish Silver and Jewels, Scottish and Sporting Paintings, Drawings and Watercolours. Gleneagles, Monday 25th August and 26th August, 1986 Lot 882. Deceased estate. Note: Hornel was born in Bacchus Marsh, Victoria Australia, on 17 July 1864 of Scottish parents, and he was brought up and lived practically all his life in Scotland after his family moved back to Kirkcudbright in 1866. He studied for three years at the art school at Edinburgh, and for two years at Antwerp under Professor Verlat. Returning from Antwerp in 1885, he met George Henry and associated himself with the Glasgow Boys. Hornel and Henry collaborated upon The Druids Bringing in the Mistletoe (1890), a procession of druidic priests bringing in the sacred mistletoe, gorgeous with polychrome and gold. The two worked side by side to achieve decorative splendour of colour, Hornel boldly and freely employing texture effects produced by loading and scraping, roughening, smoothing, and staining. In 1893–94 the two artists spent a year and a half in Japan, where Hornel learned much about decorative design and spacing. Towards the close of the nineties his colours, while preserving their glow and richness, became more refined and more Verlat atmospheric, and his drawing more naturalistic, combining sensuous appeal with emotional and poetic significance. In 1901 he declined election to the Royal Scottish Academy. A member of Glasgow Art Club, Hornel exhibited in the club's annual exhibitions.In 1901 he acquired Broughton House, a townhouse and garden in Kirkcudbright, which was his main residence for the rest of his life with his sister Elizabeth. There he made several modifications to the house and designed garden taking inspiration from his travels in Japan. he also made an addition of a gallery for his paintings. On his death the house and library were donated for the benefit of the citizens of Kirkcudbright and Broughton House is now administered by the National Trust for Scotland.183 examples of Hornel's work are held in UK public collections and an unknown number in major museums around the world, including in the USA and Canada.

Lemaire Angelaview full entry

Reference: see McTears auction, 26 Aug 2020,
Glasgow, lot 190:
ANGELA LEMAIRE (BRITISH CONTEMPORARY) TWO ACTORS BEFORE WINDOW linocut print, signed, titled, dated '77 and numbered 1/5 in pencil 31cm x 23cm Mounted, framed and under glass. Note: Angela Lemaire was born in Buckinghamshire and went to the Lyçée Français de Londres and Wispers School in Sussex, then to PLC Pymble in Sydney Australia. She returned to Britain in 1962 and went to Chelsea School of Art, London (1963) and Camberwell School of Arts and Crafts (1964-67, Dip. AD.), where she was taught relief printmaking by Michael Rothenstein. After this she went to Morley College, Lambeth, where she continued etching. The wood-engraver Frank Martin, who taught at Camberwell, gave her a box of wood-engraving tools which had belonged to a colleague of his who had died. With these tools she taught herself wood-engraving; it hadn’t been taught at art-school. She was by then already friends with the wood-engraver and letterer Michael Renton and had watched him at work. She decided she would work principally as a printmaker and with text and image. Angela lives and works in the Scottish Borders and has exhibited widely including numerous solo shows at prestigious galleries around the UK and beyond.

Babbage Herbert 1875-1916view full entry

Reference: see WOOLLEY & WALLIS, UK, 8 Sept., 2020, lot 660:
Herbert Ivan Babbage (Australian 1875-1916)
A view of the Thames with Tower Bridge
Signed
Oil on board
25.4 x 17.5cm; 10 x 7in

Dixon Georgeview full entry

Reference: see KEYS FINE ART AUCTIONEERS, UK, 28 August, 200, lot 57:
George Dixon, View of Venice, watercolour, signed and inscribed "Melbourne 1902", 14 x 15cm

Jessup Fred 1920-2007view full entry

Reference: Documentary on DVD on the artist by Tom Donnellan which includes the following cover notes: ‘Frederick Arthur Jessup [ b. 1920 Talbot, Victoria, Australia - d. 2007 South of France ]. Fred, when he completed his art studies in Sydney, following service in the Australian Forces in WW2, spent most of his artistic life in France. He visited many countries in search of inspiration including his homeland, Australia. He lived the precarious life of an artist well-versed in the disciplines of costume design, graphic art, print making and pottery. For many years he produced paintings exclusively for the Wally Findlay Galleries International. He worked up to his final days in his rural retreat in the South of France on singular commissions or creations of his muse. In his eighty-fourth year he was still feverishly honing his art in his wonderful studio which was a time capsule spanning centuries. This inspirational documentary permits a view into the life of an artist dedicated to his craft despite his advancing years.’

The art studies referred to above were at the Dattilo Rubbo Art School. He as closely associated with Margaret Olley, Donald Friend, and David Strachan. Two of Jessup’s works, both dated 1962, are in the Art Gallery of NSW.
Ingrid Hedgcock, Curator, Tweed Regional Gallery and Margaret Olley Art Centre, and the 2017 recipient of the Alan Sisley Memorial Fellowship, is currently undertaking a curatorial project ‘concerning the relationship and intersecting practice of Margaret Olley and her life-long friend, expatriate Australian artist Frederick Arthur Jessup’.

Publishing details: DVD documentary, 54 minutes.
Ref: 1000

Architecture view full entry

Reference: see Australian Architecture Now, by Davina Jackson and Chris Johnson. ‘A crucial record of two hundred of the most signicant structures & places created during Australia's unprecedented building boom of the mid-to late- 1990s. Featuring work by Peter Stutchbury & others.’
Publishing details: Lond. Thames & Hudson. 2002. 4to. Col.Ill. wrapps. 254pp. Profusely illustrated in colour and black & white.

Architecture view full entry

Reference: see Australian Architecture Now, by Davina Jackson and Chris Johnson. ‘A crucial record of two hundred of the most signicant structures & places created during Australia's unprecedented building boom of the mid-to late- 1990s. Featuring work by Peter Stutchbury & others.’
Publishing details: Lond. Thames & Hudson. 2002. 4to. Col.Ill. wrapps. 254pp. Profusely illustrated in colour and black & white.

Hern Charles Edward 1848-1893view full entry

Reference: see Theodore Bruce auction,
September 14, 2020, lot 6010:
Charles Edward Hern
(1848-1893) Britain/Australia
View across the Harbour to Cremorne Point, Bradley's Head & Manly beyond 1883
Watercolour
Signed & dated lower left
Label verso
15 x 30.5 cm

LITERATURE:
Hern arrived in Australia in 1873.
A landscape painter in watercolour, Hern was an active member of the NSW Academy of Arts, 1873-1880 & of the Art Society of NSW, 1880-1883. His (work was) carefully finished & detailed watercolours & includes panoramas of Sydney Harbour & the Blue Mountains, & lithographs from his original views. He returned to England in 1883 & became an instructor in watercolour painting to the daughters of Edward VII, then Prince of Wales, & exhibited with the RA & the Royal Society of British Artists 1884-1893. McCulloch, A. The New McCulloch's Encyclopedia of Australian Art, p. 514

Payne Frank (Frankie) Mallalieu 1885-1975view full entry

Reference: see Theodore Bruce auction,
September 14, 2020, lot 6001:
Frank (Frankie) Mallalieu Payne
(1885-1975)
Sleepy Child 1922
Oil on canvas
Signed & dated lower right
Titled & signed verso
34.5 x 19.5 cm, 54 x 38.5 cm overall

LITERATURE:
Frankie, was born in Brisbane and always known as Frank. She exhibited with the Queensland Art Society from 1902 leaving in 1905 to continue her studies in Paris & London.
She studied at Colarossi's, L'eEcole des Beaux Art & La Grande Chaumiere. Returning to australia in 1907, she worked for the Courier, the Bulletin & worked for Smith & Julius. After her marriage failed in 1928 she supported her self & her 3 boys. She exhibited with Alice Norton in Sydney in 1922 & showed regularly with the Royal Art Society from 1923 until the 1950s. Her specialities were children in natural surroundings, often her own. She became the first President of the Sydney Society of Women Painters in 1935 & in 1946 helped Billy Hughes with his campaign for the federal seat of North Sydney. Kerr, Joan. ed. Heritage, The National Women's Art Book, Craftsman House,1995 p427

Withers Margery Pitt
(1890/94-1966) view full entry

Reference: see Theodore Bruce auction,
September 14, 2020, lot 6011:
Margery Withers was the daughter of artist Walter Withers. She was born in England after her mother had returned there to nurse her Father brought to Australia as a baby by her mother, Fanny Flinn, when she returned to Australia from England to join her husband, Walter Withers, in 1890. Margery studied at the National Gallery School, Melbourne & at the Working Men's College. She became a painter & teacher, her work is held in several public collections.
Her career along with various children of late Nineteenth century Melbourne artists such as Vasco Loureriro, Archibald & Elizabeth Colquhoun, Louis & Sheila McCubbin, Esther Paterson, Penleigh, Merric & Helen Boyd gravitated toward the National Gallery School, they met & re met others in group exhibitions, artists' societies & artists' functions.....having spent much of their childhood in each others company.
However despite an artistic childhood & encouragement to become artists, the Second Generation of "Heidelberg Women" received little recognition, despite their celebrated forebears, the allure of their family names did not give them a secure footing with later generations, with the exception of Margery Withers, who never joined the MSWPS, (who) tended towards modernist expression or favoured commercial art. Often this second generation of women cannot be typecast neatly into the stereotypes of Heidelberg traditions as could the landscape based work of Louis McCubbin & Margery Withers & her siblings" p68.
"There were a number of married couples who both painted professionally in the Meldrum group, AD & Amalie Colquhoun, being the best known, but also John Farmer & Polly Hurry & Richard McCann & Margery Withers. Peers, Juliet. More Than Just Gum Trees: A Personal, Social & Artistic History of the Melbourne Society of Women Painters & Sculptors, MSWPS inconjunction with Dawn Rivival Press, Melbourne 1993 p28, 68,74
Note: Biographical information at http://www.artistsfootsteps.com/html/Withers_Bio.htm states Margery Wither's birth date as 13 January, 1890.
https://trove.nla.gov.au/work/216168281

She died in 1966. Margery was married to artist Richard McCann who donated a work to the State Library of Victoria after her death.

Stewart Janet Agnes Cumbrae 1883-1960view full entry

Reference: see Theodore Bruce auction,
September 14, 2020, lot 6019:
Janet Agnes Cumbrae-Stewart
(1883-1960)
Portrait of Barbara Vincent-Jones (1915-2004), aged 7 3/4, 1923
Pastel on paper
Signed & dated lower left
76 x 57 cm, 88 x 67 cm overall

PROVENANCE:
Gifted by the sitter in 1999 to Charmaine Jane Curtis, wife of Jeffery Farnol, thence by descent

LITERATURE:
Cumbrae-Stewart's skill was noted extensively during her career. She studied & was frequently awarded for her still life & nudes, she was received well in the first showing of her work in the 1907 First Australian Exhibition of Women's Work in Melbourne. Her first solo show followed in 1911 & was a resounding success, her works purchased by prominent collectors & well-known artists including Bernard Hall, the head of the National Gallery School. In 1916 she became a full member of the Australian Artist's Association, an honour normally conferred upon elite male artists.

In 1922 she went to London with her sister Beatrice, moving to Chelsea & by 1923 she was an international success. She held exhibitions at Walkers Gallery, the Royal Academy & the Royal Society of Portrait Painters. Queen Mary is know to have bought her work, she began exhibiting at the Galérie Beaux-Arts, Paris (1924-31), the Royal Academy & the Salon de la Société des Artistes Français (the Old Salon), Paris—in 1923 she received an honourable mention from the latter. In the same year she travelled through the Continent & to Canada. During her seventeen-year stay in Europe she lived in Avignon & Caen in France & in Laiguelia on the Riviera di Ponente, Italy, with Miss Argemore ffarington 'Bill' Bellairs, her companion. She returned to Australia in 1939 to visit her family & remained there after the outbreak of World War II.
http://adb.anu.edu.au/biography/cumbrae-stewart-janet-agnes-5842

The portrait was made in 1923 at Little Meadow Beaconsfield Buckinghamshire, England. The sitter writes: "I was very naughty & would not sit still & my arm was broken & bound up so it looks slightly off balance!
This picture was hung in the London Roayl Academy 1924.
My Brother was making faces at me through the garden window! My dress was navy blue & green shot silk taffeta bought at Bests New York. Cumbria Stewart (sic) had a studio in Chelsea, London & was a good friend of my Mother & Father"

Barbara Vincent-Jones, who served as a third officer in the Women's Royal Naval Service in WWII, was the daughter of Sir Vincent Strickland Jones KBE and Mary Bagot.
Sir Vincent Jones, the son of a well-to-do family in northern England, distinguished himself in military service before and during WWI. In 1910 he married and moved to Grand Falls Newfoundland, Canada to work for the Anglo-Newfoundland Development Company. War service saw his family return to England until the mid 1920s when he went back to Newfoundland. As company director of the AND company, he and his wife Mary became important pillars in the community. His honours include being named an honorary colonel of the Home Guard in Grand Falls and in 1941 Knight Commander of the British Empire.

Barbara's mother, Mary Bagot (1889-1976) was the daughter of Lt. Col. Josceline Bagot, whose distinguished military service and leadership qualities, led to his appointment as Aide-de-camp to the Governor-General of Canada. He later served as a Conservative Member of the British Parliament and subsequently as Parliamentary Secretary at both the Treasury and the Home Office. He was nominated for a baronetcy in 1913 but died the same year.
Barbara's father Sir Vincent Strickland Jones (1874-1967) Went to Newfoundland, 1910, as Mill Manager of Paper Mill at Grand Falls and has been connected with its progress and expansion ever since. 1912-45: Vice-President and Managing Director, Anglo-Newfoundland Development Co. Ltd; Pres Anglo-Newfoundland Steamship Co.Ltd , Director Terra Nova Properties Ltd, Gaspesia Sulphite Co. Ltd, Vice-Chairman Newfoundland Forest Fire Patrol. Recreations : cricket, lawn tennis, golf.

Barbara's brother Desmond (1912-1992) (the one making faces at her as she was being painted) became an accomplished naval officer who served in WW2 and later rose to become the Military attaché to Argentina and later Naval Aide De Camp to the Queen.

Both Barbara & Desmond changed their surnames to Vincent-Jones, Barbara in 1945.

EXHIBITIONS:
The Royal Academy, London, 1924

Baker-Clack Arthur 1887 - 1955view full entry

Reference: see Theodore Bruce auction,
September 14, 2020, lot 6074:
Arthur Baker-Clack
(1887-1955)
French Provincial Church
Oil on canvas on board
Signed lower left
23.5 x 29.5 cm

LITERATURE:
An Australian born painter in the impressionist school. He was at the art colony at Étaples, Pas-de-Calais, Nord-Pas-de-Calais, France from 1910, and continued to live in the region during World War I & after.
He exhibited in Paris, London & Australia & was a jury member for the Salon d'Automne & of the Société Nationale des Beaux-Arts. He was also chairman of the Folkestone Art Society.

Larkin Anita Johnsonview full entry

Reference: DEFIANCE GALLERY IS PLEASED TO ANNOUNCE A NEW SOLO EXHIBITION AT WOLLONGONG ART GALLERY
ANITA JOHNSON LARKIN
COME TO ME WITHOUT A WORD.
TO BE OFFICIALLY OPENED BY GINA FAIRLEY, Visual Arts Editor, ArtsHub
1pm Saturday 5 September

EXHIBITION DATES 29 August - 11 October 2020

Anita Larkin combines salvaged objects with felt, beeswax, honey and lead in
engaging artworks, offering themselves up as intimate poetry describing love,
longing and loss. Chairs, ladders, crutches, hot-water bottles, violins and
beds, can be seen to stretch, slump, climb, smell of cloves, wrap themselves in
the warmth of felt or emit the sound of bees.

Publishing details: Wollongong Art Gallery, 2020,
Ref: 1000

Twenty Melbourne painters catalogue 19th annual exhibition.view full entry

Reference: Twenty Melbourne painters catalogue. 19th annual exhibition.. Athenaeum Hall, Melbourne, 20th Sept. – 2nd Oct., 1937. catalogue of 113 works with prices by the artists J. S. Anderson, A. M. E. Bale, George Bell, E. Buckmaster, Rupert Bunny, Victor Cobb, Geo Colville, Edith Downing, W. Frater, A. Gallagher, P. Hurry, E. Kimpton, R. McCann, A. E. Newbury, John Rowell, William Rowell, Arnold Shore, Jo Sweatman, Isabel Tweddle, Rose A. Walker and Margery Withers, and others, a very good copy.

Publishing details: Melbourne : Athenaeum Hall, 1937. Octavo, lettered wrappers, punched holes for filing, pp. 8,
Ref: 1000

Young John collectionview full entry

Reference: Young John Collection of Pictures and engravings. Rare etchings, old engravings … early Australian pictures and prints including an important group of works by Conrad Martens …
The collection of John Young, founder of Macquarie Galleries, auctioned on the event of his tour of Europe in 1929. Works listed include pieces by Norman Lindsay, Lionel Lindsay (illustrated), Rodin, Elioth Gruner, Frank Brangwyn, and a large group of Conrad Martens.

Publishing details: Sydney : James R. Lawson, circa 1929. Octavo, lettered wrappers, pp. 36, black and white illustrations,
Ref: 1000

Angus J Colinview full entry

Reference: J. Colin Angus - Publicity flyer for the Australian landscape painter John Colin Angus.
Publishing details: El Dorado, Vic. : the artist, 1977. Quarto, folded sheet, pp. [4], illustrated.
Ref: 1000

Dreamweaversview full entry

Reference: Dreamweavers, curated by Simon Gregg. Aly Aitken, Eloise Calandre, James Gleeson, Adam Laerkesen, Sam Spenser, Joel Zika. Text by Simon Gregg, Steve Proposch;
Publishing details: Gippsland Art Gallery, 2011. Small quarto, illustrated wrappers, pp. 64, illustrated. Printed in an edition of 1000 copies
Ref: 1000

Time/lapseview full entry

Reference: Time/lapse : through time & topography
Catalogue of an exhibition of contemporary photography and old master prints. Artists include Polixeni Papapetrou.
Publishing details: Sale, Vic. : Gippsland Art Gallery, 2016. Quarto, illustrated gatefold wrappers, unpaginated, illustrated. Printed in an edition of 500 copies.
Ref: 1000

Looking for faeriesview full entry

Reference: Looking for faeries, the victorian tradition : a Bendigo Art Gallery exhibition. Exhibition catalogue with list of works and essay by Anna Clabburn.
Publishing details: Bendigo Art Gallery, 2010. Quarto, pink wrappers, [pp. 48], colour illustrations throughout.
Ref: 1000

fairiesview full entry

Reference: see Looking for faeries, the victorian tradition : a Bendigo Art Gallery exhibition. Exhibition catalogue with list of works and essay by Anna Clabburn.
Publishing details: Bendigo Art Gallery, 2010. Quarto, pink wrappers, [pp. 48], colour illustrations throughout.

Photographyview full entry

Reference: see Photographica Australis by Alasdair Foster. Features a foreword by Anna Waldmann.
Publishing details: Sydney : Australian Centre for Photography, 2003. Quarto, pictorial wrappers, pp. [48], pictures throughout, some colour.

Jessup Fred 1920 - 2007view full entry

Reference: see Tweed River Art Gallery website, article ‘It’s all about the light: works by Margaret Olley from public collections’.
Frederick Jessup 1920 - 2007
Fred Jessup studied in Sydney at the East Sydney Technical College from 1945-48 where he met Margaret. He was awarded the NSW Travelling Scholarship in 1945, but didn’t take it up until after the war. In 1948 he moved to France where he remained until his death in 2007, revisiting Australia in 1959 and 1962. Fred travelled with Margaret and Mitty Lee-Brown to Paris in 1949 and went on painting expeditions with Margaret to Queensland and Northern NSW when visiting Australia in 1962.

Cilento Margaret 1923 - 2006view full entry

Reference: see Tweed River Art Gallery website, article ‘It’s all about the light: works by Margaret Olley from public collections’:
Margaret Cilento 1923 - 2006
Margaret was a painter and printmaker who during her life lived in Queensland, New South Wales, America and Europe. Cilento attended Somerville House where she became a close friend of Margaret Olley. She also attended Sydney Technical College in Sydney during the 1940’s and shared a flat with Margaret at McMahons Point.

Dyring Moya 1909 - 1967view full entry

Reference: see Tweed River Art Gallery website, article ‘It’s all about the light: works by Margaret Olley from public collections’:
Moya Dyring 1909 - 1967
Moya was an Australian artist who was one of the first women artists to exhibit her cubist paintings in Melbourne. After visiting Paris in 1928, she studied at the National Gallery of Victoria Art School. Dyring lived permanently in Paris from 1939 where she met Margaret in1949. She produced a substantial body of work, most of which was sold at exhibitions throughout Australia, and also hosted and encouraged other visiting Australian artists. On her death she bequeathed a studio apartment for the benefit of Australian artists. The Moya Dyring Memorial Studio, at the Cite Internationale des Arts, Paris, is administered by the AGNSW.

Lee-Brown Mitty 1922 - 2012view full entry

Reference: see Tweed River Art Gallery website, article ‘It’s all about the light: works by Margaret Olley from public collections’:
Mitty Lee-Brown 1922 - 2012
Mitty was an artist who lived at Merioola,Woollahra,Sydney c.1944-c.1945, and studied at East Sydney Technical College at the same time as Margaret where they met and became friends. Mitty travelled with Margaret to London, Paris and the South of France in 1949-1952. Lee-Brown spent many years as an expatriate in Europe and then in Sri Lanka where she remained until her death in 2012.

Strachan David 1919 -1970
view full entry

Reference: see Tweed River Art Gallery website, article ‘It’s all about the light: works by Margaret Olley from public collections’:
David Strachan 1919 -1970
Painter and printmaker best known for his mining landscapes, poetic still lifes and contemporary nudes. He studied at the Slade School in London in 1936 and the East Sydney Technical College in 1945, where he met Margaret Olley. He also studied at the Académie de la Grande Chaumiére in Paris in 1947. In 1960 he returned to Australia, and in 1963 he bought a house in Paddington, Sydney. Margaret often stayed with him on her visits to Sydney until she purchased her own house nearby. Margaret painted a number of works in his house, including a series of interiors and still lifes after his tragic death in a motor car accident in 1970.

Wright Helenview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p21-23, artist’s choice of works from AGNSW.
Publishing details: Art Gallery Society of NSW, 2020,

Ramsay Hugh The Sisters in AGNSWview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p24-5, article by Tony Magnussen.
Publishing details: Art Gallery Society of NSW, 2020,

Fieldworkview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p41-3, article on the Fieldwork exhibition at Hawkesbury Regional Gallery, 2020 and Penrith Regional Gallery 2021
Publishing details: Art Gallery Society of NSW, 2020,

Fieldworkview full entry

Reference: Fieldwork exhibition at Hawkesbury Regional Gallery, 2020 and Penrith Regional Gallery 2021 [to be indexed]
Publishing details: Hawkesbury Regional Gallery, 2020 [catalogue details to be entered]
Ref: 1000

Streeton Arthur Gloucester Buckets in AGNSWview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p44-7, article by Simon Ives and Paula Dredge on lost work by Streeton.
Publishing details: Art Gallery Society of NSW, 2020,

Drew Peterview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p48-54, article by Anne Ryan on the artist’s posters.
Publishing details: Art Gallery Society of NSW, 2020,

Muholi Zaneleview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p60-1, article on new acquisition by the artist.
Publishing details: Art Gallery Society of NSW, 2020,

Calle Sophieview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p62-3, article on new acquisition by the artist.
Publishing details: Art Gallery Society of NSW, 2020,

Hawkes Nathanview full entry

Reference: see Look Magazine, Art Gallery Society of NSW mazazine, Sept-Oct, 2020, p68-76, article by John Saxby on the artist.
Publishing details: Art Gallery Society of NSW, 2020,

Greatbatch William c1735-1813 English potterview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Trevor Hancock on Captain Cook teapot by William Greatbatch c1776
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

teapot - Captain Cookview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Trevor Hancock on Captain Cook teapot by William Greatbatch c1776
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Cook Captain James teapotview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Trevor Hancock on Captain Cook teapot by William Greatbatch c1776
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Crawford James Coutts c1845view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Robert Hannan & Peter Crawshaw on ‘the missing James Coutts Crawford watercolours’.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

scrimshawview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Scott Carlin, p11-23
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Western Australian artview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Habgood Blanche Mary nee Brownview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Brown Blanche Mary later Habgood p25view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Cowan Edith p25view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Cowan Jessie painter and art teacher p25view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Absolon John p25 26view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Brown Edith Dircksey p26view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Forrest Margaret Elvire p27-9 with illustrationsview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Hamersley Edward p28view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Knight Gussie 1840-1904view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Woodward Bernard brief ref p30view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Williams Frederick brief ref p30view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Knight Mary Henriettaview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Hoff Raynerview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by John Ramsland ‘Rayner Hoff - sculptor for the 1st AIF and World War I’. p 33-41,
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Steen Otto brief mention as a studentview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by John Ramsland ‘Rayner Hoff - sculptor for the 1st AIF and World War I’. p 33-41,
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Hoff Raynerview full entry

Reference: Manx Anzacs - The Anzac Memorials of Rayner Hoff (booklet)
Publishing details: Isle of Man Post Office, 2018. np.
Ref: 1000

Smith W H jewellerview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. p42, article on an early Australian mourning brooch.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Williams William Joseph 1851-1918view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. p46--54, article by Graham J. Williams grandson of the artist.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Deerbon Una 1882-1972 potterview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. p55-8, article by Relton and Peter Leaver
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Darlow Madame see Deerbon Una 1882-1972 potterview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. p55-8, article by Relton and Peter Leaver
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Darlot Madame see Deerbon Una 1882-1972 potterview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. p55-8, article by Relton and Peter Leaver
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Qwist Christian Ludwig photographer and goldsmithview full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. advertisement for J. B. Hawkins Antiques on back cover.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Coates Vera L 1889-1975view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. p46--54, referred to in article by Graham J. Williams grandson of the artist William Joseph Williams 1851-1918. Illustration by Coates of an art exhibition at the Institute Building, North Terrace, Adelaide.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Manning Mary Henrietta p32view full entry

Reference: see Australiana Magazine, August, 2020, vol 42, no.3. article by Dorothy Erickson ‘Angels in the Studio’ in Western Australia: the precursors, p24-32. Mainly 19th century artists discussed.
Publishing details: Australiana Magazine, August, 2020, vol 42, no.3

Ainsworth Ruthview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Allan Ailsa see Brown A Lview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Brown Ailsa Lee (Ailsa Allan)view full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Allport Lilyview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Alsop Edithview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Annois Lenview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Arnott Margaretview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Baldwinson A Nview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Barnett P Nevilleview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Bayliss Cliffordview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Bell Georgeview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Black Dorritview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Blackburn Veraview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Bresslern-Roth Norbertineview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Brodzky Horaceview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Brown E C Austinview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Bryant Charlesview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Buzacott Nutterview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Carter Mauriceview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Cheeseman C Tview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Cobb Victorview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Coleman Constanceview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Collingridge Georgeview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Constable Williamview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Counihan Noelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Cox Royview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Craig Sybilview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Dalgarno Royview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Davies Royview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Derham Francesview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Digby Jessieview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Dyson Willview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Edwards M Cooperview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Fasken Myrtleview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Feint Adrianview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Fizelle Rahview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Flett Jamesview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Flexmore Johnview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Gibbons Gladysview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Goodchild Johnview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Griffin Murrayview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Haefliger Paulview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Hall Oswaldview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Hawkins Harold Weaverview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Heffernan Edwardview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Herbert Haroldview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Hirschfeld-Mack Ludwigview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Jordan Allanview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Irvine Ysobelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Kingston Amyview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Knight Jackview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Kohlhagen Lisetteview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Leon Dominicview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Lindsay Lionelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Lindsay Normanview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Lungly Dorothyview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

McGrath Raymondview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

McKee Violetview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Mackintosh Jessieview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

McNiel H Keithview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Macpherson Margaret Roseview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Preston Margaret Roseview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Mahony Willview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Mayo Eileenview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Meadows Ronview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Medworth Frankview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Moffitt Ernestview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Montgomery Robertview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Morison G Pittview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Mort Eireenview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

O’Connell Michaelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Ogilvie Helenview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Owen Gladysview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Palmer Ethleenview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Paul Constanceview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Pavia Charlesview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Perrotet George Dview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Perry Adelaideview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Pitman Phyllisview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Proctor Theaview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Pye Mabelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Raokin see Weaver Hawkinsview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Read Arthurview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Rede Geraldineview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Reynell Gladysview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Reynolds Frederick Gview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Ritchard Edgarview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Satchell Edgarview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Shaw Roderickview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Sheldon Vincentview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Sherwood Maudeview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Slater Klytieview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Sparrow Unaview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Spowers Ethelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Stephens Ethelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Stoner Dorothyview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Syme Evelynview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Teague Violetview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Thake Ericview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Thomas Meganview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Thorpe Hallview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Trethowan Elizabethview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Wallace-Crabbe Kview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Waller Christianview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Waller M Napierview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Wallis Mervynview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Ward Frederickview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Warner Eview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Webb Archibaldview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Weitzel Frankview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Wood Marjorieview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Wood Noelview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Wood Rexview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Wright Harrisonview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Yandell Christian see Christian Wallerview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Young Blamireview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries. Compiled by Chris Dutscher and Roger Butller. A catalogue of over 130 artists with illustrations of their work. Includes biographical information on each artist.
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Adamson-Pinczewski Samara view full entry

Reference: Samara Adamson-Pinczewski, Sinuous Spheres, Charles Nodrum exhibition, September, 2020.
Sinuous spheres. Not only a reference to the three tondo paintings in this exhibition, and the viewer’s desire to walk in circles around all of these new works to figure out their geometry and catch their colour shifts, but also to the twisted globe on which we live. “My compositions are getting more and more complicated”, Adamson-Pinczewski says, “But you know what Kate, life is complicated.” The challenges we face today are intense - socially, politically, environmentally, psychologically, metaphysically. Despite this, these new works by Samara Adamson-Pinczewski are labours of love by an artist who is forever absorbing new information and exploring new ground.

The newest ground in this exhibition is the sculpture. They are 3-D printed resin, hand painted. Her transition from two to three dimensions didn’t come as a surprise to me, particularly after the shaped paintings in her 2018 exhibition – all clearly bursting at the seams to pop right off the wall and into the round. But it was a trip to France in 2016 when she visited a number of Le Corbusier’s buildings, as well as the 1966 brutalist Church of St. Bernadette du Banlay – a church-cum-bunker filled with oblique angles and elegant curves - that really got Samara’s mind primed to work towards sculpture. Then all she needed was some incentive and a deadline – which she got in the Spring 1883 Art Fair in Sydney in 2019. The three works in this exhibition continue her ‘Around the Corner’ series, the first three of which were much admired at Spring and all sold. These new works (as did their siblings) resist an immediate visual digestion: you can’t just ‘get it’ on your first look, you want to move around the thing to find the front and, when you realise there isn’t one, you need some more time for your brain to figure out all the intricacies and delights of the highly involved forms. While making these sculptures, Samara has been pondering how she would do things on a larger scale – and she is open to the task, should an opportunity arise. She’s also been thinking about how the sculptures would behave in space – possibly as mobiles.

Previous visits to the DIA Foundation in upstate New York (during her residency with The Sam & Adele Golden Foundation for the Arts) were also highly influential. She tells me that Richard Serra’s father was a shipbuilder, and Frank Stella’s father a house painter; ‘it’s in your blood’, she says, obviously feeling an affinity to these artists, as her art too comes from the family profession and is driven by the materials she’s grown up with. In her case, her psychology and her art are formed by bits of scrap metal (her parents and grandmother ran a scrap metal business from the late 60s) hence her aluminium supports, her iridescent and metallic paints and the spiky forms of her compositions.

As for the tondos - their internal geometry is complex, and she has worked hard to avoid copying or echoing the circle shape of the support within the composition, instead pursuing the irregular. The result, as with the paintings on canvas, are works of a highly edited nature, aggressive and jarring. But this is her intention: nothing is static about Samara’s work - neither the forms in her compositions, the participation of the viewer, nor the work of the artist herself.

Kate Nodrum, July 2020

Publishing details: Charles Nodrum Gallery, September, 2020. Online catalogue
Ref: 1000

Lawson Bernard Johnview full entry

Reference: see The Collector auction,
August 30, 2020, Murrumbeena, Australia,
Bernard John Lawson (Australia, 1909-98) Framed Charcoal & Conte - Convict Tramway - Signed, titled, dated 67 & inscribed NULLafter Lt Col. MundyNULL, in pencil on Margin - image size 24x33cm HxW, frame size 28.5x37cm

Francombe Nell 1906-2001view full entry

Reference: see Colville Auctions
September 14, 2020, 6:00 PM AEST
Hobart, Australia, Lot 4: Nell Frankcombe (1906-2001) Australia - Boronia, Tasmanian Berries, Nell Frankcombe (1906-2001) Australia - Boronia, Tasmanian Berries
Dimensions
16 x 13cm (sight) 22 x 20cm (fr) each
Artist or Maker
Nell Frankcombe (1906-2001) Australia - Boronia, Tasmanian Berries
Medium
Watercolour
Condition Report
Excellent
Notes
Signed lower right, inscribed title verso. Studied under Isabel Oldham during 1930's and Max Meldrum 1940-48. Exhibited Art Society Tasmania 1935- and Blue Gum Exhibitions TMAG 1974-5.

Kebbell William Francis Vere 1888-1963view full entry

Reference: see HALLS FINE ART AUCTIONEERS, UK, 2 Sept., 2020, lot 689: William Francis Vere Kebbell (1888-1963), Memories, Still life, signed top right, Mall Galleries label verso, pastel, 61 x 50cm William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery.

Friedlander Leeview full entry

Reference: see Revere Auctions, St. Paul, MN, USA, 24 Sept 2020, lot 194:
Lee Friedlander (b. 1934). Photograph titled "Australia," depicting Australia's landscape. Silver gelatin print. Provenance: Distinguished corporate collection, Minnesota.
Sight; height: 11 1/4 in x width: 7 5/8 in. Framed; height: 18 in x width: 14 in.

Thompson Sydney (1877 - 1973)view full entry

Reference: see Time Auction Global LLC.
Little Neck, NY, USA, lot 30, August 31, 2020:
Sydney Thompson (1877 - 1973) New Zealand
Medium: Oil on canvas
Size:20 1/2" x 27"
Frame Size: 26" x 32 1/2"
Condition: Great, no visible damages
Style: Impressionist
Artist: Sydney Lough Thompson (1877 - 1973)

Sydney Lough Thompson was active/lived in New Zealand. Sydney Thompson is known for painting.

Sydney Lough Thompson had already rejected the idea of studio practice and embraced the impressionist hallmark of plein air painting by the time he returned to New Zealand in 1933 after long periods in Concarneau, Brittany. The Mahurangi area had become a haven for artists in 1940s and â€˜50s, the open landscape and light inspiring a new generation of New Zealand artists.

In 1943 Thompson worked in the North Island along with English born artist Olivia Spencer Bower. Thompson typically painted in a post-impressionist style.

PROVENANCE
Private Collection from Connecticut

Not just dotsview full entry

Reference: Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.
Ref: 1000

Aboriginal artview full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Hood Charlotte (Penny) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Harrison Aunt Fay view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Morgan Adrian (Ringo) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Mullett Jennifer (Jenny) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Hudson Alfred (Alfie)view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Terrick Edith (Aunt Eadie) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Terrick Elaine view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Dean Cindy view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Hood Colin view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Harrison Frances view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Ross Brett view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Mullett Aunty Rachel view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Campbell Charles (Charlie) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Bryant Katey Dorothy view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Harrison Frank (Uncle Sono) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Rodgers Raymond and Marion (Bubby-Girl) Solomonview full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Solomon Marion (Bubby-Girl) view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Young Spirits Dance Groupview full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Wilmot Trina view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Farhnam Robert (Robbie) Juniorview full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Owens Janelle view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Gordon Teri view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Gordon Eileen (Aunty Lana)
view full entry

Reference: see Not just dots : Aboriginal art and artists from East Gippsland in south eastern Victoria, text by Robyn Evans. ‘The artwork and stories of prominent Aboriginal artists residing in East Gippsland fill the pages of this book. While the art is visually pleasurable, the stories, experiences and words of the artists are profound and outline the veracity of Aboriginal people in Victoria's South East.’
Publishing details: East Gippsland Aboriginal Arts Corporation, 2008. vii, 50 pages : colour illustrations.

Hindsight - Gippsland Art Galleryview full entry

Reference: Hindsight_Gippsland Art Gallery : history & collections, 1965-2015 / written and compiled by Simon Gregg ; collection photography by Lindsay Roberts ; [welcome by Carolyn Crossley, Mayor, Wellington Shire Council ; foreword by John Leslie OBE, Patron]. Includes essays with biographical information on the key works in the collection. Includes list of exhibitions 1965-2015 at the Gallery. Includes catalogue with works illustrated. “Hindsight celebrates fifty years of the Gippsland Art Gallery … . The story of the Gallery …, provides an intimate insight into the workings of both the Sale community and the broader sphere of Victorian public galleries. Hindsight traces the key developments in the Gallery’s history, through the stories of the many people who have shaped it. … Hindsight features a complete catalogue of every work in the Gallery’s collection, as well as commentaries on its highlights.”--Back cover.
Publishing details: Gippsland Art Gallery, 2015. 446 pages, 3 folded pages : illustrations (some colour), portraits (some colour). With index.

Disappearersview full entry

Reference: Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.
Ref: 1000

Dickinson Alistair view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Gill Simyrn view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Hogan Annie view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Kimber Mark view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Lipp Richard view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Pleban Kennethview full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Pluta Izabela view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Tolonen Julia view full entry

Reference: see Disappearers - Gippsland Art Gallery catalogue. 14 November 2009 - 24 January 2010. Group show including: Alistair Dickinson, Simyrn Gill, Annie Hogan, Mark Kimber, Richard Lipp, Kenneth Pleban, Izabela Pluta, Julia Tolonen

Publishing details: Gippsland Art Gallery, Sale, 2009, Paperback, 68 pp.

Lying about the landscapeview full entry

Reference: Lying about the landscape, edited by Geoff Levitus. A collection of essays which reasses the landscape tradition in Australian art. They provide valuable insights into the complex ways in which the landscape tradition influences contemporary art practice both through its development and its interpretation.
• Introduction / Geoff Levitus
• Incidents of the bush / Sue Rowley
• Pictures of, painting as / Terry Smith
• The ploughman's view / Tim Bonyhady
• Landscape and identity in the 1980s / Pat Hoffie
• Aboriginal landscapes / Sylvia Kleinert
• Lying about the landscape / Gary Lee
• Notes on 'value added' landscapes / Ian Burn
• Present implications / Terry Smith.
Publishing details: Craftsman House, c1997, 112 p.

Harrison Eileenview full entry

Reference: Black Swan - A Koorie Woman's Life
By: Eileen Harrison, Carolyn Landon. [’A frank and powerful memoir of the life of an Aboriginal woman, from her early years on the Lake Tyers mission to discovery of her talent as a painter.

'It's bad luck to catch a black swan.'
Eileen Harrison grew up at the Lake Tyers Aboriginal Mission Station in the 1950s as one of eleven children in a tight-knit and loving family. When the new assimilation policy comes in, they are wrenched from the Mission and sent off to Ararat in the hope that they will become part of that community. Unable to build a stable life in the face of isolation and discrimination, the family is torn apart. Eileen must become the protector and the peacemaker.

As a child, Eileen set free a black swan caught in a hessian bag. Now the story of the magical black swan from her childhood provides an uncanny map for her life as she struggles to find her path. After many years she discovers her talent as a painter and builds a new life for herself. Powerfully told in Eileen's words, her experiences speak eloquently of what has happened to Aboriginal people over the last half-century.

'Both heart-wrenching and hopeful, Eileen Harrison's story demonstrates that while policies of assimilation may have taken families from country and community, they could never take the memories that kept them connected.' - Dr Anita Heiss, award-winning author and activist

About the Authors

Eileen Harrison is a Kurnai woman and an artist. Carolyn Landon is an oral historian and author of the bestselling Jackson's Track.’]
Publishing details: Allen & Unwin, 2011, 256pp
Ref: 1000

Mortensen Kevinview full entry

Reference: see AGNSW website:
Kevin Mortensen’s avant-garde sculptures and performances of the 1970s and 80s established him as a distinctive and innovative figure in Australian art. He is probably best known for the birdman motif that has recurred throughout his work in various media since 1971.
Mortensen was born in East Malvern, Melbourne in 1939 to a Danish migrant father and an Australian mother. He trained to become an art teacher at Prahran Technical College under sculptor Lenton Parr, which in turn led Mortensen to become a sculptor. Mortensen taught art at several schools in Melbourne and rural Victoria in the 1960s. While teaching he studied for a diploma of art (sculpture) at Royal Melbourne Institute of Technology (RMIT) from 1962 to 1965. His early works, likened by two critics to ‘techno-funk-pop’ and ‘smoothly elegant funk’, were favourably reviewed in exhibitions at Argus Gallery in Melbourne in the late 1960s.
In the early to mid 1970s, Mortensen exhibited at Pinacotheca Gallery in Melbourne, where in 1971 he performed his iconic work The seagull salesman, his stock and visitors, or figures of identification. In it, Mortensen and his collaborators took turns in donning a feathered papier-mâché bird mask while seated on a chair in a room, quietly interacting with audiences as they inspected the surrounding sculptures of figures and caged seagulls. Mortensen’s merchant birdman creation has been interpreted as a critique of the art market, however it was partly inspired by his fascination with birds in Norse mythology and Danish culture. The work’s animalistic symbolism and ritualistic narrative elicited a multitude of responses and readings by commentators at the time. Nevertheless, The seagull salesman is now regarded as a significant work in participatory and body-based performance art in Australia.
Mortensen returned to RMIT and lectured in art while maintaining a fledging art practice during the 1970s and 80s. His works featured in the Mildura Sculpture Triennials of 1970, 1973 and 1975 and the 1976 Biennale of Sydney. One prize-winning work at Mildura, The delicatessen 1975, involved Mortensen renting a shop and hiring an actor to play a shopkeeper. Another significant project was The rowing 1979, which was performed at the National Gallery of Victoria as part of the Experimental Art Foundation Performance.
In 1980 Mortensen represented Australia at the Venice Biennale along with Tony Coleing and Mike Parr. For his Biennale presentation, he revisited the idea of the birdman in a series of performances and sculptural works that sought to illustrate genetic similarities between human and avian species. While in Venice, he and Coleing became acquainted with fellow performance artists Marina Abramović and Ulay.
For the 1981 Australian Sculpture Triennial (where he would also exhibit in 1984 and 1989), Mortensen presented Club Atavism, in which his Biennale birdman reappeared. A series of photographs documenting that performance was exhibited in Perspecta at Art Gallery of New South Wales in 1981 and is now in the Gallery’s collection. In 1982, Mortensen’s work was included in Eureka! Artists from Australia at the Institute of Contemporary Art (ICA) in London.
Mortensen has lived at Venus Bay in eastern Victoria since 1985, where he continues to produce work in various media. A monograph on the artist, Serious play, was published in 2015.
‘Art is in some ways a bit like a joke,’ said Mortensen in a 2017 interview, ‘in the sense that it has to have a punchline to it.’

Mortensen Kevinview full entry

Reference: Kevin Mortensen
Ingen Angst. 1994
Description
group of 8 lithographs
Collection title
Mortensen, Kevin. 'Ingen Angst'. Melbourne: the artist, 1994.
Place made
Viridian Press, 148 Smith Street, Thornbury, Melbourne, Victoria, Australia
Materials & Technique
prints, complete series/set/portfolio/album/book for valuation, lithographs, printed in black ink, each from one stone
Support
white wove Arches Aquarelle paper
Impression
13/16
Edition
edition of 16; plus trial proofs 3 artist's proofs, 3 printer's proofs
Dimensions
printed image, each 45.0 h x 60.0 w cm
sheet, each 57.0 h x 76.0 w cm
Publishing details: Viridian Press
Melbourne, Victoria, Australia

Ref: 1000

Boyd Malcolmview full entry

Reference: Malcolm Boyd - The Fernbank Potter by Bob Munro [referred to in bibliography of Spirits in the Bush by Simon Gregg].
Publishing details: self publiushed, 2015
Ref: 1000

Martin Mandyview full entry

Reference: Mandy Martin Latrobe Valley Series.
Publishing details: Latrobe Valley Arts Centre, 1990.
Ref: 1000

Potts Hedley - view full entry

Reference: Hedley Potts Retro
Publishing details: Glen Eira City Council, 2016
Ref: 1000

Forbes Rodney view full entry

Reference: Rodney Forbes - Paintings 1983-1993
Publishing details: Latrobe Regional Gallery, 1994
Ref: 1000

Forbes Rodney view full entry

Reference: Rodney Forbes - 1995 - 2005
Publishing details: Latrobe Regional Gallery, 2006
Ref: 1000

Martens Conradview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Gill S Tview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Buvelot Louisview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Roberts Tomview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Streeton Arthurview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Conder Charlesview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

McCubbin Frederickview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Ramsay Hughview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Fox E Phillipsview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Bunny Rupertview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Meldrum Maxview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Lambert Georgeview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Heysen Hansview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Gruner Eliothview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Frater Williamview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Smith Grace Cossingtonview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Wilson Ericview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Dobell Williamview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Drysdale Russellview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Herman Saliview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Lawrence Georgeview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Orban Desideriusview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Miller Godfreyview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Fullbrook Samview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Smith Ericview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Daws Lawrenceview full entry

Reference: see Aerial Art Exhibition by Robert Smith. illustrated, essay by Robert Smith; exhibition showcasing artists from Conrad Martens to Margaret Olley. With brief biographies on each artist.
Publishing details: [Brisbane : Queensland Art Gallery, 1962]. Octavo, illustrated wrappers with Russell Drysdale’s painting Back verandah, pp. 12,

Baines Thomasview full entry

Reference: Explorations in South West Africa
Publishing details: Longman & C0, 1864
Ref: 1000

North Marjorieview full entry

Reference: Spinsters Abroad: Victorian Lady Explorers
by ‪Dea Birkett
Publishing details: Blackwell , 1989
Ref: 1000

North Marjorieview full entry

Reference: ‪Victorian Lady Travellers‬ by ‪Dorothy Middleton
Publishing details: Routledge, 1965, 182pp
Ref: 1000

Explorers’ Sketchbooksview full entry

Reference: Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

travel artistsview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

exploration artview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Fitzmaurice Lewis Roper surveyor on The Beagle p284view full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Baines Thomasview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Becker Ludwigview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Breton Adela 1849-1923view full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Chatwin Bruce as travel sketcherview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Cook Captain Jamesview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

von Guerard Eugeneview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Harrisson Charles Turnbullview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Hodges Williamview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

North Marianneview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Palmer John Linton 1824-1903 in Pacificview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Parkinson Sydney 1745-1771view full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Peale Titian Ramsay 1799-1885 in Pacificview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Tasman Abel 1603-1659view full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Thomson John Turnbull 1821-1884 NZview full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Wallis James 1785-1858view full entry

Reference: see Explorers' Sketchbooks - The Art of Discovery & Adventure (Artist Sketchbook, Drawing Book for Adults and Kids, Exploration Sketchbook), by By Huw Lewis-Jones, Kari Herbert. Includes essays on artists with biographical information. [’The sketchbook has been the one constant in explorers' kits for centuries of adventure. Often private, they are records of immediate experiences and discoveries, and in their pages we can see what the explorers themselves encountered. This remarkable book showcases 70 such sketchbooks, kept by intrepid men and women as they journeyed perilous and unknown environments—frozen wastelands, high mountains, barren deserts, and dense rainforests—with their senses wide open. Figures such as Charles Darwin and Sir Edmund Hillary are joined here by lesser-known explorers such as Adela Breton, who braved the jungles of Mexico to make a record of Mayan monuments. Here are profiles, expedition details, and the artwork of pioneering explorers and mapmakers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries. Here is the art of discovery.’]
[’Includes works by Roald Amundsen, Thomas Baines, Ludwig Becker, Charles Darwin, James Cook, Bruce Chatwin, Eugene von Guerard, William Hodges, Marianne North, Sydney Parkinson, Robert Falcon Scott, Ernest Shackleton, Abel Tasman, James Wallis, John White and others.
‘Despite dramatic advances in technology and equipment over the centuries, there is one vital piece of kit in most explorers’ pockets that hasn’t changed much at all – the journal. The sketchbooks and journals presented here allow us the opportunity to share, through their own eyes and thoughts, the on-the-spot reactions of around 70 intrepid individuals as they journeyed into frozen wastes, high mountains, barren deserts and rich rainforests. Some are well known, such as Captain Scott, Charles Darwin, Thor Heyerdahl and Abel Tasman; others are unfamiliar, including Adela Breton, who braved the jungles of Mexico to make an unparalleled record of Maya monuments, and Alexandrine Tinne, who died in her attempt to be the first woman to cross the Sahara. Here are pioneering explorers and map-makers, botanists and artists, ecologists and anthropologists, eccentrics and visionaries, men and women. A handful of living explorers, including Wade Davis, provide their thoughts on the art of exploration. Often battered and neglected, stored away and perhaps long forgotten, many of these sketchbooks have themselves awaited rediscovery. Now is the chance to open them again… Includes a foreword by Robert Macfarlane and essays by several living explorers, among them Ghillean Prance, Alan Bean and Wade Davis.
Huw Lewis-Jones is former curator at the Scott Polar Research Institute and National Maritime Museum. Among his other books are Across the Arctic Ocean, The Conquest of Everest and The Crossing of Antarctica. Kari Herbert, explorer Sir Wally Herbert’s daughter, is the author of The Explorer’s Daughter, In Search of the South Pole and Heart of the Hero.’ – the publisher.’]
Publishing details: Thames & Hudson Limited, 2016, hc, 320pp, with index.

Bendigo Art Galleryview full entry

Reference: see Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.

Colquhoun Alexander Divided Attention 1887 illustrated view full entry

Reference: see Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.

Hopley Edward A Primrose from England oil illustrated view full entry

Reference: see Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.

Meadows James Edwin oil Sandhurst (Bendigo) from Camp Hill 1886 illustrated view full entry

Reference: see Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.

Rowe George illustrated view full entry

Reference: see Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.

Watkins C Darling Downs (a sheep) 1887 illustrated view full entry

Reference: see Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.

artresearch.com.au

The Scheding Index of Australian Art & Artists

Browse